The New York Times has a series of really remarkable and illuminating interactive graphs which take apart trailers for several of this year's best picture Oscar nominees shot by shot and identify exactly from which chronological part of the film the shots arrive.
Not all nine films got the treatment. Only Silver Linings Playbook, Beasts of the Southern Wild, Amour, Lincoln, and Argo appear in the article, but just that sampling alone offers a wide variety of trailer types made visibly understandable by this ingenious graphing system.
Each graph reveals a mini-story about how studios attempt to sell certain types of films. For instance, the Amour trailer has very few cuts, though they come from all parts of the film. By comparison, the Argo trailer looks like it was cut by a five year old with ADHD but adheres mostly to the film's first act. Lincoln is all over the place. The trailer for Universal Soldier: Day of Reckoning is not included, for some reason. Honestly, I could see losing an afternoon to this stuff if they evere decided to open the floodgates and take apart every new trailer that comes out.
See for yourself here.