1. Soap Opera Genre –
Independent Textual
Analysis
Name: Hannah D’Souza
Candidate Number: 6827
Center Name: St. Paul’s Catholic College
Center Number: 64770
OCR Media Studies –
A2 Level
Unit G324:
Advanced Portfolio

2. Trailer 1 – Eastenders: Hurricane Sharon Trailer
http://www.youtube.com/watch?v=z1v_2Xf7Xss
Verbal Codes
Dialogue – The trailer consists of no dialogue between the characters as it is mainly taken up by the non-diegetic sounds. This is significant
as non-verbal codes such as facial expressions usually express the emotions of the characters without revealing a lot of the narrative through
the trailer.
Voiceover – “There’s one heck of a storm coming. Sharon’s back.” The use of this voiceover at the end of the trailer ‘signifies’ (De Saussure)
the importance of the episode available to the audience on BBC1. It also links in with the theme of the trailer as the lexis ‘storm’ has a
polysemic meaning which connotes the ‘storm’ is personified to Sharon, or could also connote her bringing a storm with her. Additionally,
the short sentence “Sharon’s back” creates excitement or maybe worry in the minds of the audience, thus compelling them to tune in to
watch the show so they don’t miss out.
Sound Effects – The first shot of the trailer consists of the diegetic sound of the pub sign swaying by the harsh winds. This immediately
attracts the audience attention due to the ‘haunting’ sound of effect of the creaking sign. The ambient sound of thunder andwinds blowing
also create an effect of chaos in the audience minds.
Soundtrack – “Oh a storm is threatening my very life today.” These lyrics imply Sharon could be threatening and dangerous to the East
End community. “War, children it’s just a shot away.” These lyrics ‘signify’ that just as the storm is around the corner, so is the war coming
with Sharon.
Non-Verbal Codes –
Setting- The setting of the trailer is in the ‘East End’ which links in with the name of the soap. The audience are able to ‘personally identify’
(Katz) with this as the text is based around the working class community in this area. Also, the trailer itself starts with a dystopian setting
that’s dark and chaotic due to the ‘storm’ which is Sharon. The first shot of the ‘Queen Victoria’ pub is a place the audience are able to relate
to and immediately know the trailer is from EastEnders. Furthermore, the trailer is shot on the streets of the East End where the community
usually interact with one another. However, the presence of Sharon makes people run into their houses and hide which gives the audience a
negative feeling about her character.
Lighting- Low key lighting is used in the trailer to connote the dark, mysterious character of Sharon. This works well with the
personification of her being the ‘storm’ as it gets cloudy before a storm is coming. This could also connote a ‘disequilibrium’ (Todorov) that
the episode might bring, causing the audience to want to watch it so they don’t miss out. The non-verbal codes of everyone hiding from the
‘storm’ for-shadows the upcoming danger that people might want to avoid.
Costumes- Everyone in the trailer is dressed in working class clothing which demonstrates the working class attire the audience identifies
with. However, the irony is Sharon wearing white in the middle of the dystopian, chaotic setting. The colour white is usually associated with
purity and holiness; therefore Sharon could be seen as a saviour to some people as she descends from heaven in an angelic manner in the
midst of a storm. This conforms to the polysemic meaning of her character.

3. Technical Codes –
Camera Angles- The trailer begins with a zoom low angle zoom into the ‘Queen Victoria’ sign which the audience can
identify with as being part of EastEnders. It also has a lot of long shots with fast pace cuts to add to the chaotic environment
and make the audience feel like they’re part of it. It also shows the eye line match of the characters looking at the Tornado
which could be personified as Sharon. A high angle shot is also used to portray Sharon looking down at the little working class
community of East End making her look dominant over it. Additionally, a broken frame shot of car screen vipers used near
the end to hide the character in the cars facial expression as he looks at Sharon in confusion and shock.
Facial Expressions- In addition to this, the facial expressions of the characters used in the trailer reveal that they aren’t
happy and maybe don’t see her as the ‘saviour’ but more like trouble. This is revealed through their ‘shocked’ and ‘scared’
facial expressions as they look up at the ‘storm.’ On the other hand, the revelation of the lady in white being revealed as
Sharon as she lifts up her veil clearly demonstrates her facial expression as being serious and down to business as well.
Character roles- The trailer consists of an antagonists or possibly a villain (Propp) as Sharon is described as a storm,
messing up peoples lives. This creates drama within the narrative enabling females to tune in to watch it stereotypically
according to Rebecca Feasey’s (2007) ideology.
Long shot of the
hurricane
(Sharon)
approaching their
town signifying
she’s like a storm.
Facial expressions of
characters reveal
how they’re not
happy to see Sharon
back
Editing technique
of Sharon
descending from
the sky wearing
white to create an
effect on the
audience
Establishing shot
of pub reveals
prime locations of
the soap which
audience relate to

4. Trailer 2 – Hollyoaks: Valentines Day Trailer
http://www.youtube.com/watch?v=InV4JpVz5gU
Verbal Codes –
Dialogue and Voiceover- There isn’t any diegetic verbal codes or voiceover used in the trailer. This is because the trailer itself is very
descriptive through other aspects of the trailer like the characters facial expressions and soundtrack used. Most Soap opera trailers tend
not to use a lot of verbal codes to prevent it from revealing a lot of the narrative. By not using any dialogue, the producers leave the trailer
to interpretation of the audience itself. This is important as the trailer could ‘signify’ (De Saussure) polysemic meanings and creates
anticipation in the minds of the audience as well. Voiceovers are generally important in trailers as they add to the conclusion of what the
trailer was about. However, in this case, the logo ‘Hollyoaks’ fading in and out at the end create a mysterious effect which does reveal
who’s trailer it was.
Sound Effects- The only diegetic sound effect presented in this trailer is the bursting of the last red balloon at the end, along with an
added sound effect to give it more emphasis and create a sense of urgency to the audience. The bursting of the red balloons added with
the sound effect could emphasise the character bursting the balloon and could connote the fact that he might not like the concept of love
or even Valentines Day itself.
Soundtrack- “She’s the girl you want her to be.” The use of the non-diegetic lyrics linking with the upset ‘heartbroken’ character could
connote her hearts been broken by a man and could signify she did whatever he wanted to and that he might have been in control of her.
The second narrative of the trailer, which establishes the ‘repeated’ (Neale – 1980) theme of a multi-stranded narrative, seems to be a
happier one as the boy seems to be in love with the girl. However, the song lyrics “Don’t come near, don’t touch…” reveal she might just be
playing with his feelings. The third narrative demonstrate a guy with two girls. The non-diegetic song lyrics “take some friendly advice, let
her go” ‘signify’ he should let go of one of them. This moves on to the fourth narrative of a man confused with which girl to marry. The
song lyrics “let her go” makes the audience realise he has to let one of them go.
Non-Verbal Codes –
Lighting- The narratives denote low key lighting within the background with the spotlight on the characters within that narrative. This
gives the trailer a more mysterious look and creates a lot of interest within the trailer amongst the audience. The narrative of the man
with two girls in the photo booth have a higher key lighting which signifies a more happier time in comparison to the rest of the
narratives with relationship problems.
Costumes- The characters are all seen in dark, dull clothing which could infer secrets or emptiness of characters within the narrative.
The narrative with the man going to propose have the two girls dressed in red and black. Both signified with evil, dangerous colours. This
signifies villainous characters (Propp) within a narrative.
Facial Expressions & Character roles- Different narratives have different facial expressions. For example, the first narrative
demonstrates a girl with makeup smudged down her face which signifies her crying possibly due to heartbreak. Non-verbal codes of the
girl writing in lipstick connotes femininity which relates to Rebecca Feasey’s (2007) ideology of soap operas appealing to female viewers.

5. Technical Codes –
Camera Angles- The technical code of the mirror camera shot gives the audience a range of different emotions as the
characters shown wiping away her tears in reality but is seen crying and frustrated as she gets up and walks away in the mirror.
This could express various feelings in the trailer that keeps the audience interested.
Shot Types- The shot-reverse-shot editing technique of the second narrative with the boy and girl in the bar establishes the
different emotions felt by both characters through their facial expressions. Eye line match of the boy looking the girls phone
number. Additionally, extreme close of the girl writing in lipstick. Black and white shots of the pictures taken in the picture
booth. Lots of close ups to connote importance to a certain feature. Example, the man’s face with red paint splashed on it to
connote he might be guilty of murder as red represents blood. Slow motion is used to create a major impact of importance to the
audience. The non verbal code of the red paint splashing on the characters face would signify him being an antagonist with
blood on his hands.
Camera Movement- There isn’t any camera movement in this trailer.
Extreme close up
of characters eye
creates a deeper
effect of suspicion
in the minds of the
audience
Eye line match of
the girls number
to demonstrate
what the character
is looking at
Girl writing in
lipstick connotes
feminism
(Rebecca Feasey’s
ideology)
Facial expressions
of the characters
are something the
audience can
relate to

6. Evaluation of Textual Analysis –
Compare and Contrast
Trailer 1) – Areas of Strength and what you would ‘repeat’ (Steve Neale - 1980) and/or ‘exploit’
(Abercrombie – 1995)
Trailer 1 has good diegetic sound of the pub sign swaying in the harsh winds which creates a haunted, ghostlike
atmosphere for the audience. This also links in well with Sharon, the ‘storm’ appearing in white from the sky
giving it a deeper effect. The diegetic sound is something I would want to ‘repeat’ (Steve Neale-1980) in my trailer
as it attracts the audience attention immediately from the beginning and keeps them interested throughout with
the soundtrack. However, I would want to ‘exploit’ (Abercrombie-1995) some of the editing techniques used in
this trailer as they are very professional in terms of the amount of CGI used. Despite this, some of the camera
shots used in the trailer like the high angle shot looking downwards at the market place creates an effect of
dominance in the character role of Sharon in contrast with the East End community looking scared and hiding in
their homes. The whole concept of using the personification as Sharon being a storm is a good idea and would be
something I would take inspiration from and like to ‘repeat’ when creating my own trailer. The voiceover at the
end is also a strength I would repeat as it gives the audience a concluding comment about the trailer making them
want to watch the episode even more.
Trailer 2) – Areas of Strength and what you would ‘repeat’ (Steve Neale - 1980) and/or ‘exploit’
(Abercrombie – 1995)
Trailer 2, like trailer 1 is very effective in terms of the ideas and themes used to demonstrate the concept of the
episode itself. For example, the narrative of the man in the photo booth with 2 girls is a good example of a
utopian, happy setting with snapshots in black and white used to capture these moments. However, I wouldn’t
‘repeat’ (Steve Neale) the 6 narratives used in this trailer, but would consider a multi-stranded narrative of 2/3
story lines. I think another area of strength are the shot types used in this trailer, especially in the end with the
man holding a heart balloon. The close up of his eye and him bursting the balloon with a straight face really
portrays him as a ‘villainous’ (Propp) character. The concept of bursting the balloon which could signify this
character ruining Valentines Day would be something I would like to ‘repeat’ in my trailer as it demonstrates
some variety in the trailer and gives the audience something to think about and intriguing, making them want to
watch the episode. However, I would want to ‘exploit’ (Abercrombie-1995) the use of a lot of narratives in the
trailer I create as the audience wouldn’t know what to focus on.