1. Soap Opera Genre –
Independent Textual
Analysis
Name: Dan Sgarbini
Candidate Number: 2005
Center Name: St. Andrew’s Catholic School
Center Number: 64135
OCR Media Studies – A2 Level
Unit G324: Advanced Portfolio
2. Trailer 1 – EastEnders- Week of Revelations
Verbal Codes –
Within this trailer multiple forms of verbal codes are present as they strongly subvert the sense of mystery and tension within the text. The
use of diegetic ambient sound is present within the opening scene of the text as the creaking of chains is present when the main
protagonist, Max Branning, passes a group of swings. This verbal code has been inserted in order to build tension within the trailer and
could also foreshadow the murderer of Lucy Beale.
Furthermore, the use of diegetic sound is also present within this trailer within the fish and chips shop in which a new born baby is crying.
This verbal code connotes the anguish and terror that the murder has enforced upon the community and has been dramatized through the
innocence of a young child. However this trailer primarily lacks in diegetic dialogue due to the fact that no example of this is present within
the trailer. Although this creates more tension, the lack of dialogue also makes it difficult for the viewers to immerse themselves within the
text.
The use of non diegetic sound is also present within this text in which the instrumental music is played at a slow and steady pace, which has
been put into place in order to build suspense amongst the potential murderers and will also attract the target audience allowing them to
immerse themselves within the text as they inflict their own input amongst the suspects of murder. Furthermore, the verbal code of a non
diegetic voiceover is also present towards the final scene of the text in which a narrator projects his voice in a tone of intensity whilst
stating the title and time of the ‘Week of Revelations’. This feature intensifies the extract and informs and educates the audience (Katz) as
they become immediately aware of the timing and theme of each episode through the use of a non diegetic voiceover.
This portrays the multi-stranded narrative within the ‘EastEnders’ main plot due to the fact that the instrumental changes pace and pitch
during the transition of scenes as contrasting strands of suspects are portrayed.
https://www.youtube.com/watch?v=QUqmm7RuYn8
3. Non-Verbal Codes –
In addition, this trailer also presents suspense and darkness through the use of non- verbal codes. A prime non verbal feature
within this text is the use of low key lighting, which directly portrays a sense of darkness and suspense as the candidates for the
murder are established. This is primarily present within the opening scene of the trailer in which Max Branning appears to be
smothered within a dark environment, which could perhaps forebode the brutality to take place within EastEnders.
This trailer also presents the characters and their motifs through the use of costumes and props, which is in place throughout the
duration of the text as the main protagonist is presented in a dark costume in order to lure the audience into viewing him as the
murderer or a ‘villain’ (Propp) of some sort, whereas the family of the victim are presented in white in order to connote their
apparent purity and innocence. This trailer is extremely ambiguous due to the fact that it was a family member who ended up
murdering his sister, whereas the trailer presented the family as a source of innocence.
The entire concept of this trailer is to reveal the potential murderer(s) of Lucy Beale, in this case all of the characters are
presented through non verbal codes and are placed into the frame of murder through their facial expressions. The non verbal
code of facial expressions are present when Denise (the prime female protagonist) is sitting within the pub with an expression of
entrapment and isolation denoted across her face. This could portray a sense of guilty and also subverts the impact of the victims
death upon the community.
Furthermore, the ‘Week of Revelations Trailer’ also portrays multiple settings within the Walford location in order to familiarize
new member of the audience with the soap opera and its setting. These locations also symbolize the wide spread of murderers as
camera tracking is utilized in order to follow various suspects and characters across the famous square destinations, e.g. Queen
Victoria pub, fish and chip shop and many more signature EastEnders locations.
This soap opera trailer is a direct example of a multi stranded narrative due to the fact that the main plot of Lucy Beale’s murder is
constructed through various sub plots such as Ian Beale and Jane as her parents in the fish and chips shop unaware of their
daughters fate and the murder frame which consists of over 10 figures who were previously associated with the victim and are in
various locations.
Trailer 1 – EastEnders- Week of Revelations
4. Technical Codes –
The use of technical codes within this text strongly subverts the role and emotions of each character. The use of a low angle shot is present towards
the end of the trailer in which the murder victim appears from the top of the roof and looks down upon the community. This technical code has
been put into place in order to convey the superiority of the victim who appears as omnipotent within this situation as only she knows who the
murderer is. This strongly supports the views of Rebecca Feasey (2007) who feels that female viewers are drawn in through the stereotypical
superiority of the female characters as an empowered female figure is dominant towards the later stages of the trailer.
Furthermore, a low angle shot is also present within the second scene of the text in which Jane (mother of victim) appears to brutally look down
upon her son. This could portray her hatred towards the children and could be insinuating her as the murderer of her own daughter. However can
alternatively connote the younger son as a shock suspect of the murder as his mother implies a sense of disgust to her son who is responsible for the
murder of his older sister. This therefore draws in the audience who are unaware of the murderer and are given a hint that even the unexpected are
within the murder frame.
In addition, within the pub Denise is introduced into the frame of murder as a close up reveals the back of her head. This could perhaps symbolize a
metaphorical mask in which the female protagonist is hiding from her true identity being a murderer. This will allow the audience to consider many
characters within the frame of murder as the mystery within this close up explores all possibilities to the audience.
Furthermore, the technical code of panning is also put into place within the trailer in order to locate the audience across the Walford setting and to
introduce the viewers to each suspect of murder who are within separate destinations. This use of camera movement could furthermore imply the
point of view of Lucy Beale who was wondering the square before being brutally struck and murdered by one of the key suspects within the trailer.
The technique of editing is also present within this trailer through the utilization of low key lighting within the pub scene. This is present in order to
portray the darkness that is within the storyline as an atmosphere of negativity is crafted in order to foreshadow the potential murderer. Within the
trailer that I aim to craft I will utilize the editing technique of low key lighting as it is relevant and directly connotes the recurring themes within soap
opera.
Propp’s theory of characteristics indicates that there is a villain within this soap opera trailer in which the trailer is hiding from the public eye. This is
presented through both high key and low key lighting in which Denise within the pub and Max at the car lot are both portrayed with low key lighting
in order to subvert their brutality as ‘villains’ (Propp). Whereas both Ian and Jane are illustrated amongst high key lighting in order to demonstrate
their innocence in the murder of their daughter to the audience.
The technical codes within this trailer portrays the multi-stranded narrative of the main plot due to the fact that each camera shot and angle
indicates the individual positions of each character who are involved within the narrative. In addition, each strand of characters e.g. the Beale family
are portrayed in different methods through lighting and camera angles in order to portray the multi-stranded narrative.
5. Trailer 2 – Hollyoaks- January 2015
Verbal Codes –
Within this trailer, a fast paced non-diegetic soundtrack is present throughout this promotional broadcast media product in order to reveal the
multiple issues and narrative themes that take place within this soap opera. This trailer reveals a multi-stranded narrative that primarily consists of
conflict and difficult situations, which is present when two male figures have an intense argument resulting in the start of a physical fight. Therefore
this fast paced, non diegetic code is put into place in order to intensify and foreshadow the ongoing conflict within ‘Hollyoaks’. Furthermore, the use
of diegetic dialogue also subverts a sense of danger and relevant soap themes as a doctor quotes “if you carry on like this, you will go blind” which
portrays the inevitability of disaster as an Omniscient figure is warning the main protagonist of his physical and mental restrictions. This convention
allows the target audience the diverse themselves within the text (Katz’ Uses & Gratifications) as they are able to relate to the fear of the hospital
and the theme of metaphorical blindness.
Non-Verbal Codes –
Both high key and low key lighting are prominent within various scenes within this trailer order to ‘signify’ (De Saussure) the variety of story lines
and atmospheres that take place within Hollyoaks. High key lighting is in place within the opening scenes of the trailer prior to the tension and
drama in order to connote an enlightened and positive environment, whereas situations of conflict are presented within low key lighting in order to
inflict a sense of entrapment and brutality. These contrasting aspects directly symbolize the setting and atmosphere of the scene as the audience
directly associate the binary opposites (Levi Strauss) with common soap themes.
In addition, the use of clothing and props are put into place within the trailer in order to ‘signify’ the role of each character. For example the prime
male protagonist within this trailer is presented in dark clothing in order to establish his distressing presence within the extract. The setting within
each scene is also crucial as it is within the ‘Hollyoaks’ community however different scenes feature in contrasting settings. For example, a prime
scene of tension within this trailer is set in the hospital in order to portray the barriers of life and death and the emotions of the character whereas
the scene of physicality and conflict is present outside in order to illustrate the dominant nature of the male gender and the sense of street life and
caution.
This trailer also portrays a multi stranded narrative in which the main ‘villain’ (Propp) has escaped a prison sentence in which a large number of
characters are effected by his escape. This portrays the wide effect that this protagonist has upon the cast through the facial expressions of various
mal and female figures throughout the trailer.
https://www.youtube.com/watch?v=b0qQ3HFaxpw
6. Technical Codes –
This extract displays various shot types in order to evoke the statuses and characteristics of each character within this soap.
This is present within a scene of conflict in which a high angle shot is present in order to assert the dominance of the ‘alpha
male’ over his rival. This technical code allows the audience to explore each character and will allow them to relate to or
disapprove of various characteristics. Anti-stereotypes are also in place as a female teenage figure is presented within a
close up in order to reveal her significance over the male teenage figure. This opposes the theory that “men act woman
appear” (John Berger) and by doing so evokes the power of femininity.
In addition a high angle shot is present in order to denote the significance of the main male protagonist Will, this takes
place as the prime villain has escaped from prison as he is in a position to rise above society and cause further destruction
within the soap opera. This creates a theme of diversion (Katz) within the audience as all viewers are able to escape reality
in order to have a direct knock on effect of the ‘survivors’ (Maslow) as their chain of routine and safety has been broken by
a brutal event.
Furthermore, the technical code of camera movement is also present within the trailer as panning is in direct place along
side a broken frame shot in order to portray a third party within the scene between two teenagers. This portrays the
possibility of a watcher who plays an outside part within this storyline, therefore through camera movement this trailer is
foreshadowing future storylines and is creating a sense of mystery and anticipation amongst viewers.
Rebecca Feasey (2007) believed in the ideology of a “strong dominant female” which is directly present within the
Hollyoaks January trailer, this is due to the fact that the prime female protagonist is presented in a black and red attire
which connotes a sense of passion, power and mystery. The ideology of a dominant female is present within the
majority of soap as it allows the reader to explore the various aspects and ambiguity of gender roles in todays society.
7. Evaluation of Textual Analysis –
Compare and Contrast
Trailer 1) – Areas of Strength and what you would ‘repeat’ (Steve Neale)
Within this trailer I strongly admire the use of low key lighting. This convention is present within the opening scene in order to subvert a
sense of mystery. Within my trailer I will include this non verbal code in order to denote a sense of darkness and despair, allowing the
audience to become drawn into the text as they are able to explore the possible outcomes (Maslow), I will therefore ‘repeat’ (Steve Neale)
this technique.
I will also ‘repeat’ multiple verbal codes in which I will extract and develop from the EastEnders trailer, although this trailer completely
lacked the use of diegetic dialogue. Throughout its duration ambient sound was present in order to build tension and foreshadows
outcomes. An example of this is the swing chains rattling within scene 1 which creates suspense upon who murdered Lucy Beale. Within
my trailer I will repeat the use of ambient sound in order to build suspense and create a sense of darkness however will develop this
feature through the use of more deliberate forms of this technique in order to draw in the audience as a greater amount of suspense is
built.
I will also ‘exploit’ (Abercrombie – 1995) the ongoing themes and characters within soap such as tragedies, domestic affairs and romance,
however the prime figures that I aim to utilize within my trailer are a dominant female figure, a main male protagonist and a victim of
horror. All of these common figures are within the ‘Hollyoaks’ and ‘EastEnders’ trailer and signify (De Saussere) a sense of security and
appeal to a wide target audience.
Overall, I will also implement a multi stranded narrative within my soap opera trailer as both ‘EastEnders’ and ‘Hollyoaks’ have done so
through their indirect and obvious suspects within a main plot. Both soaps also use multiple cut scenes in order to illustrate a build up to
each main and sub plot in which I will place when creating my trailer.
8. Trailer 2) – Areas of Strength and what you would ‘repeat’ (Steve Neale) or “exploit”
(Abercrombie – 1995)
Although this trailer was less advanced and was advertised on a smaller scale than the EastEnders trailer I strongly
believe that the technical conventions within this trailer are to a high standard kin which I will repeat within my
own. An example of this is the use of a high angle shot during conflict which reveals the social hierarchy of each
character and male dominance. Within my trailer the vulnerability of the female gender will be ‘exploited’
(Abercrombie 1995) in order to support that “men act women appear”- John Berger.
Another feature that I will ‘exploit’ (Abercrombie) within this trailer is the use of setting, the setting within this
trailer varies and consists of between 4-6 locations. Within my trailer I plan to utilize multiple locations including the
woods, a café and a pond, these are all prominent within the January 2015 trailer however I will develop these
locations through displaying larger areas and adding effects in order to intensify each location.
However, I will also aim to ‘repeat’ (Steve Neale) the concluding page which illustrates the soap opera time, channel
and time as it will ‘inform and educate’ (Katz) my target audience allowing them to locate and view my soap opera
on a regular basis. This feature has ensured various loyal viewers over the years for the famous soap operas ands
also identifies their target audiences due to the time and its regularity.
