Research Into Similar Products: Fantasy Sub-Genres

Some interesting sub-genre's of Fantasy which piqued my interest are:

Bangsian Fantasy: Interactions with famous historical figures in the afterlife (named for John Kendrick Bangs).

Comic Fantasy: Humorous in tone

Contemporary fantasy: set in the real world but involving magic or other supernatural elements (a lot of fantasy films/series' these days are 'contemporary' fantasy. Such as the TV series 'Supernatural' or the 'Harry Potter' franchise)

Dark fantasy: including elements of horror fiction.

Steampunk (I love steampunk!): featuring anachronistic steam-powered machinery and Victorian era-inspired societies.

Romantic Fantasy: focusing on romantic relationships (many chivalrous myths and folklore are romantic based. Romantic love, I think, is the most supernatural thing someone could experience in reality, so Fantasy Romances done well can be a pure waterworks. My favourite fantasy romance is 'Howl's Moving Castle'... In fact, I was inspired by Howls Moving Castle before I was inspired by Lord of the Rings... No wonder I'm a soppy romantic!)

Fairytales/Fables

Epic/High Fantasy: characterized by a plot and themes of epic scale (such as, Lord of the Rings/The Hobbit. Its opposite is Low Fantasy; non-intrusive or few supernatural elements)

Gods and demons fiction: involving the gods and monsters of Chinese mythology (I'd suppose it could involve gods of other cultures too, like in Greek mythology).

Heroic fantasy: concerned with the tales of heroes in imaginary lands.

Legends: which combine a possible factual basis with fictional material (like Robin Hood or King Arthur related films with a touch of fantastical fiction)

Sword and sorcery: adventures of sword-wielding heroes, generally more limited in scope than epic fantasy.

The whole list is here.

Some more interesting sub-genre's from Wiki I found include:

In her 2008 book Rhetorics of Fantasy, Farah Mendlesohn proposes the following taxonomy of fantasy, as "determined by the means by which the fantastic enters the narrated world", while noting that there are fantasies that fit neither pattern:

In a "portal-quest fantasy" or "portal fantasy", a fantastical world is entered through a portal, behind which the fantastic elements of the story remain contained. These tend to be quest-type narratives, whose main challenge is navigating the fantastical world. Well-known portal fantasies include C. S. Lewis's novel ‘The Lion, the Witch and the Wardrobe' and L. Frank Baum's novel ‘The Wonderful Wizard of Oz’.

The "immersive fantasy" lets the reader perceive the fantastical world through the eyes and ears of the protagonist, without an explanatory narrative. The fictional world is seen as complete, and it’s fantastic elements are not questioned within the context of the story. If successfully done, this narrative mode "consciously negates the sense of wonder" often associated with speculative fiction. But, according to Mendlesohn, "a sufficiently effective immersive fantasy may be indistinguishable from science fiction" because, once assumed, the fantastic "acquires a scientific cohesion all of its own", which has led to disputes about how to classify novels such as ‘Mary Gentle's Ash' and ‘China Miéville's Perdido Street Station’.
*(But I find her last statement very arguable)

In an "intrusion fantasy", the fantastic intrudes on reality (in contrast to portal fantasies, where the opposite happens), and the protagonists' engagement with that intrusion drives the story. Intrusion fantasies are normally realist in style, because they assume the normal world as their base, and rely heavily on explanation and description. Immersive and portal fantasies may themselves host intrusions. Classic intrusion fantasies include ‘Dracula’ by Bram Stoker and the works of H. P. Lovecraft.
*(Basically, since Dracula is the only fantastical being in a world of normal folk, he’s being intrusive with his supernatural abilities, that’s what makes it ‘intrusion fantasy’.)

"Liminal fantasy", finally, is a relatively rare mode where the fantastic enters a world that appears to be our own, but this is not perceived as intrusive but rather as normal by the protagonists and this disconcerts and estranges the reader. Such fantasies adopt an ironic, blasé tone, as opposed to the straight-faced mimesis of most other fantasy.  Examples include Joan Aiken's stories about the Armitage family, who are amazed that unicorns appear on their lawn on a Tuesday, rather than on a Monday.
*(When supernatural things happen in reality, but people are totally chilled about it, and sometimes even overlook the fantastical things happening and moan about rather pathetic things)

I'll certainly keep these sort of genre's in mind when I'm making my trailer!