Unit G324: Production Log

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St. Paul’s Catholic College
Center Number: 64770
Candidate Number: 6593
Candidate Name: Leeza Ah-wan
A2 Media Studies
Unit G324: Advanced Portfolio in Media –
Production Log
Evidence of Planning & Research

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Aims and Objectives
 AO2 – Assess candidates’ application of knowledge and
understanding in evaluating their own work, showing
how meanings and responses are created.
 AO3 – Assess candidates’ ability to plan and construct
media products using appropriate technical and creative
skills.
 AO4 – Assess candidates’ ability to undertake, apply and
present appropriate research.
Brief Chosen
A 45 second – 1 minute 30 second trailer for a NEW Soap Opera
that will be exhibited on at 8:30pm (after Eastenders)
that will appeal to a Male and Female audience.

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Contents
Textual Analysis
 Eastenders
- Soap Opera Codes & Conventions
- Multi Strand Narrative
 Coronation Street
“..the home, the family, domestic tribulations and the strong woman, and as
such, it has long been said to appeal to the female viewer”
‘Masculinity and Popular television’ – Rebecca Feasey (2007)
Research
 Purpose of a Trailer
 Multi-Platform promotion
 Textual Analysis – Coronation Street and Hollyoaks
Production Work
 Director – Roles & Responsibilities?
 Producer – Roles & Responsibilities?
 Institution research – BBC Two
_______________________________________________________________________________________________________

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SoapOpera Codes & Conventions
1) What are some of the Codes & Conventions of this genre?
Other codes and conventions of the soap operagenre –
 Intro and outro (theme tune)
 Point of call – This is the ending where you see the ident e.g.: the BBC point of call
after Eastenders.
 Soaps like Coronation Street tend to have a “female” (Hartley) targeted audience. In
particular, middle aged to older women. However, this isn’t always the case. The
Hollyoaks logo is an example of “binary opposition” (Levi Strauss) as the
denotation of both male and female signs “signifies” (De Saussure) they cater for
both genders.
 Themes such as love, conflict and secrets are explored.
Codes and
Conventions of the
Soap Opera Genre
A convention typically ‘repeated’ (Steve Neale)
within the soap opera genre is the incorporation
of a multi stranded narrative. For example in
Eastenders, the Beale’s may be finding out that
Lucy is dead; Denise might be having an
argument with Stacy in the pub, whilst Lauren
and Peter are on a date. Multi stranded
narratives predominantly feature in soaps to
capture a mass audience as different viewers all
have different characters that they have a
“personal relationship” (Katz) with.
There are often lots of
examples of non-diegetic
sound in soap opera trailers
in order to create tension.
Diegetic sound is
always present and
ambient sound is often
used e.g.: people can be
heard from the pub in
the distance.
Establishing shots are often used. For
example, many episodes of Eastenders
begin with an establishing shot of the
Queen Vic. This technical code is used to
“signify” (De Saussure) to viewers that the
place is of great importance. For example, it
may be where the community comes
together.
Typically there tends to be a
sense of regional identity in
each soap. The residents of
Albert Square in Eastenders
are mostly from East London
and this is reflective in the
way they speak.
Cliffhangers are likely
to feature in virtually
every episode of a
soap. Cliffhangers
create suspense,
forcing “survivors”
(Maslow) to tune in,
to see if everything
will be okay.
Ident e.g.: BBC for
Eastenders. The
denotation of an ident is
important as it
“informs” (Katz)
viewers about what
they can expect from the
show. In this case they
can expect Eastenders
to “inform, educate and
entertain” (John Reith)
as these are BBC’s core
values.
“Strong women”
(Rebecca Feasey – 2007)
e.g.: Kat from Eastenders.

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2) Codes & Conventions of the SoapOpera Genre
The Soap Operagenre can be categorizedby the ‘repeated’
(Steve Neale) elements of:
1. The incorporation of an ident
2. Multistranded narrative
3. Theme tune (Intro and Outro)
4. Cliffhangers
5. Focus on workingclass communities
6. Romanceand conflict
7. Family relationships
8. Storylines that focuson issues of the zeitgeist e.g.: teenage
pregnancy.
9. Exploration of regional identity.
Eastenders (1985 – Present)
Key informationregarding this text:
 Eastendersis aired on BBC as their mission valuesare to “inform,
educate and entertain” (John Reith) and Eastendersdoes all of these
things.
 Eastendersis available on BBC Iplayer, which can be accessed through
a number of platforms e.g.: TV, computer, tablet and mobile.
 Eastendersis aimed at those with a British “ethnicity” (Hartley) as
peopleof other ethnicities will notunderstand the British humor.
 This soap is also available on demand.
 The show airs every weekday on BBC1 ateither 7:30pm or 8:00pm,
except Wednesdaysand is repeated on BBC3 at 10pm.
Textual Analysis Task
https://www.youtube.com/watch?v=QUqmm7RuYn8

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Accordingto Hartley’s Seven Subjectivities, thetarget audiencefor
Eastenders is:
Age Middle aged (30+)
Gender Females but will also appeal to some
men.
Nationality British, as people of other nationalities
will not understand the humor.
Trailer 1) – THE WEEK OF REVELATIONS – EASTENDERS 2015 TRAILER – BBC1
https://www.youtube.com/watch?v=QUqmm7RuYn8
What is the focus of this trailer?
WHO KILLED LUCY?
________________________________________________________________________________________________________
Code
&
Convention
Evidence
(Verbal, Non-Verbal, Technical)
Impact on the Audience
(Katz, Maslow, Hartley)
Romance
N/A in this trailer Normally romance would appeal
to those that have a “personal
relationship” (Katz) with a
certain character who is in love.
They will tune into Eastenders for
example if they are fans of Ronnie
and want to see whether her
relationship with Charlie will last
as they want her to be happy.
Family
relationships
and/or conflict
The technical code of a two person
shot of Jane and Ian connotes
tension.
The technical code of a slow zoom
used on Jane’s face denotes her
panic and uneasiness.
According to ‘Maslow’ this part of
the trailer would appeal to
“survivors” as they are eager to
know whether the Beale family
will be able to survive the death
of Lucy.
Focus on
working class
communities
An establishing shot is used
denoting ‘Beale’s plaice’. The
technical code of a zoom used on
the Beale family whilst in their
fish and chip shop denotes that
this is their place of work.
This part of the trailer “informs
and educates” (Katz) viewers
about the typical environment
working class individuals may
find themselves in.
According to Maslow, this part of
the trailer would appeal to “social
climbers” as seeing the Beale’s
may push them to improve their
own status in society.
The various settings (non verbal A multi stranded narrative would

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“Multi-Stranded
Narrative”
codes) denote a multi stranded
narrative. The Beale’s are in the
chip shop, Denise is in the Vic, Abi
is at the local shop.
appeal to viewers who want a
form of “diversion” (Katz)
Through the lives of many
characters being explored;
viewers can fully immerse
themselves in the text and escape
reality for a little while.
‘Disequilibrium’
(Todorov)
The verbal code of the non
diegetic incidental music is creepy
and sinister. This “signifies” (De
Saussure) from the outset that the
trailer is focusing on a very dark
storyline, most likely to be death.
The music sounds like a lullaby
but the dystopian setting and low
key lighting used as Max walks
past the Arches acts as an “enigma
clue” (Roland Barthes) that this is
anything but sweet. The type of
music used is conventional of the
horror genre creating a sinister
vibe. Furthermore, the verbal code
of the ambient sound of the gate
crashing connotes that the
residents should be fearful as
something dreadful is about to be
discovered, as Lucy’s killer is
revealed. The fact that the sound
of the gate crashing completely
captures the thoughts of all the
residents also further connotes
that the death of Lucy is on their
minds, creating anticipation in
viewers as we try to figure out
who the murderer on the square
is.
A ‘disequilibrium’ (Todorov)
would cause “survivors” (Maslow)
to tune into upcoming episodes.
They will be eager to discover
who has killed Lucy and will be
hopeful that there will be justice
for the Beale family.
Trailer 2)
What is the focus of this trailer?
HOLLYOAKS AUTUMN 2014 TRAILER: FEATURING - #HOLLYOAKSENDOFTHELINE
https://www.youtube.com/watch?v=2RRFQoEmP48
This Hollyoaks autumn 2014 trailer denotes that this soap features a multi stranded
narrative. Many storylines are briefly touched upon such as John going to prison, John’s
proposal to Steven, Dodger becoming a father and the wedding crash. Although many
storylines feature, the wedding crash is foregrounded through the non-verbal code of the
bride and groom dolls lying on the train track amongst the rubble with the text ‘Hollyoaks
Autumn 2014’ above.

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Code
&
Convention
Evidence
(Verbal, Non-Verbal,
Technical)
Impact on the Audience
(Katz, Maslow, Hartley)
Romance
The verbal code “Steven
Hay will you marry me”
denotes that these two
men are in a
relationship and madly
in love. This storyline
provides a “window
into the world” (Wendy
Helsby) as gay marriage
is becoming more
common and so the
storyline reflects the
current zeitgeist. The
technical code of a close
up shot used as John
and Steven hold hands
also denotes that
romance is a key theme
explored in this soap.
According to Katz the romantic scenes
between John and Steven would appeal to
those that can perhaps “personally identify”
(Katz) with being gay. They may enjoy
watching these scenes, as a storyline like
this is a step forward to homosexuality
becoming more accepted within society.
This storyline would also appeal to
“explorers” (Maslow) who are driven by
social change, in particular those that
believe in the acceptance of homosexuality.
Family
relationships
and/or conflict
The verbal code “He
loves us and we’re
going to start a new life
together” said by
Carmel denotes the
strong sense of hope
she has to finally have
the family she’s always
wanted. The technical
code of a two person
shot is used connoting
that the child is of great
importance to her and
Carmel loves her. The
teddy bear the child is
holding which is an
example of a non verbal
code is symbolic of her
youth and
consequently, lack of
understanding of
what’s happening.
The diegetic verbal
code “I’m having your
baby” is said to Dodger.
The zoom and close up
used denotes his
shocked facial
This particular storyline is likely to appeal
to mothers and therefore “females”
(Hartley). Those familiar with Carmel’s
character will know that she is not the
child’s mother but is prepared to do
anything to get the family she’s always
wanted. Mothers will want to tune in to
make sure that the child is safe and no harm
succumbs to her due to their natural
protective nature.
The conflict that is evidently about to arise
in Dodger’s life as he is in a relationship with
one woman, but fathering the child of
another will appeal to “survivors” (Maslow).
They will tune in as they will want the
security of knowing that Dodger is happy,

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expression (non verbal
code). The shocked
facial expression of
Dodger “signifies” (De
Saussure) that he does
not want this baby and
his world is about to get
very complicated as
he’s in a relationship
with another woman.
but so are the baby and mother.
In particular those that have a “personal
relationship” (Katz) with Dodger will tune in
to see the turn his life is now about to take.
It’s likely many “females” (Hartley) in
particular will have a “personal
relationship” (Katz) with this male as he
provides a “female gaze” (Diana Saco) due to
his looks.
Focus on
working class
communities
The technical code of a
wide shot is used to
denote the police
officers and their
vehicles waiting outside
the hospital.
The representation of working class
communities would appeal to “social
climbers” (Maslow) as through seeing the
power, authority and importance of the
police officers they may want to boost their
own position in society. E.g.: if they are
unemployed or currently have no prospects.
“Multi-Stranded
Narrative”
The different settings
(non verbal codes)
denote many storylines
such as the wedding
crash, the court case
and the birth of the
baby.
A multi stranded narrative is important in
capturing a mass audience. Different
viewers will be able to “personally identify”
(Katz) with different situations and
characters. So, multiple storylines are
imperative to keep a broad range of viewers
interested.
‘Disequilibrium’
(Todorov)
The diegetic verbal
code “You need to go in
there and tell the truth”
denotes that John may
go to prison and both
his and Steven’s life
may be turned upside
down. Regular viewers
of Hollyoaks will be
aware that these two
men are madly in love,
creating a sense of
worry as we don’t know
if Steven will be able to
cope without John.
The verbal code of the
sound made by the
train crash and the
beeping of the life
support machine
“signifies” (De
Saussure) that the
‘disequilibrium’
(Todorov)will happen
during the wedding and
horror is about to
strike.
The storyline about John going to prison
would appeal to those who have a “personal
relationship” (Katz) with the character as
they wait to see his fate and what his future
holds.
The crash storyline would appeal to those
who want a form of “diversion” (Katz).
Through watching the explosive scenes in
the wedding episode, they can escape reality
and truly immerse themselves in un-
missable drama. A storyline like this is
typical in a soap opera and is often
“repeated” (Neale) by various soap operas.
Soaps often exaggerate normality and day to
day tasks, simply to present viewers with
conflict and drama. It’s very rare that a
wedding in any soap normally goes to plan, a
disequilibrium” (Todorov) is almost always

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presented.
Multi-strandednarrative
A Multi-stranded narrative can be defined as…..
The narrative does not focus solely on one character or one storyline. Instead,
viewers are provided with multiple storylines involving a range of different
characters. In other words, several narratives are running at the same time.
- Below is a deconstruction of a 10-minute Eastenders extract. I have identified
where the following elements are presented to the audience:
 Multi-stranded narrative
 Family relationships and/or conflict
 Focus on working class communities
 ‘Disequilibrium’ (Todorov)
 Romance
Code & Convention Evidence Impact on the audience
Multi-stranded narrative
Cuts are used between
scenes as multiple
storylines are revealed.
For example, Shabnam
and Kush are talking
about Kush’s birthday.
Whilst in another scene,
Patrick and Buster are
talking about a troubled
Dean.
Also, Jane is having issues
trying to communicate
with Cindy which is
denoted by her
unimpressed and fed up
facial expression. Whilst,
Buster and Masood talk
about Shirley wanting
custody over her sons
(Dean’s) baby.
A multi-stranded
narrative ensures that the
needs of all viewers are
catered for. Kush’s
birthday storyline is
entertaining, whilst Jane’s
storyline “informs” (Katz)
viewers on the difficulties
of raising a teenager.
Family relationships
and/or conflict
The diegetic verbal code
“can’t you even begin to
care!” is said by Shirley to
her boyfriend Buster as
they argue over what to
do with their son’s child.
Through the non verbal
code of Shirley’s stressed
facial expression viewers
“Caregivers” (Maslow) are
likely to sympathies for
Shirley who is torn
between doing right by
her son and helping her
grandchild.

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can see the feisty female
believes she’s the only one
trying to save their family.
The diegetic verbal code “I
appreciate your offer but
I’m fine as I am” said by
Cindy to Jane denotes that
she doesn’t want to meet
with her stepdad Ian as
she’s angry with him.
The diegetic verbal code
“It certainly don’t mean I
want to spend my
birthday with him” is said
by Patrick to Kim. Patrick
says this about Kim’s new
boyfriend, as they discuss
going out for a family
dinner for Patrick’s
birthday. This firm
declaration by the male
denotes that he does not
approve of Kim’s lover
and evidently Vincent’s
arrival on the square is
creating rifts and tension.
Cindy’s attitude and
ungratefulness provides a
“window into the world”
(Wendy Helsby) of how
some teenagers behave.
Some mothers or carers
may be able to “personally
identify” (Katz) with
Jane’s frustration as kids
tend to not understand
the difficulty of parenting
and take things for
granted.
Patrick’s reluctance to
invite Vincent provides an
“enigma clue” (Roland
Barthes) that at any
moment, an argument can
break out in the Truman
household, thus creating
tension, exciting viewers
who want to be
entertained.
Focus on working class
communities
The diegetic verbal code
“I’ve got to go back to the
pub in an hour for a shift”
is said by Nancy to
Tamwar as this is where
she works for a living.
Shot reverse shots are
used in the café as Cindy
and Carol work. The
diegetic verbal code “I
can’t afford to go” said by
Cindy, “informs” (Katz)
viewers that the working
class often have problems
with money being tight.
The representation of
working class
communities will appeal
to working “class”
(Hartley) viewers. They
will be able to “personally
identify” (Katz) with the
demands of day to day
work and understand
financial struggles if they
themselves don’t have
sufficient wages.
A ‘disequilibrium’ Viewers will be aware that

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Disequilibrium’ (Todorov) (Todorov) is denoted
through the diegetic
verbal code: “What about
the father? Dean aint quite
aboard”. Clearly, Dean is
not keen on stepping up to
his responsibilities as a
father.
Martin wants to throw a
birthday party for Kush
but Kush isn’t up for it
because he doesn’t want
to upset Shabnam. The
close up shots of Kush
denote his troubled facial
expression as he’s torn
between his own
happiness and keeping his
girlfriend happy.
Dean’s character has a bad
temper and he is a man
who does not take being
messed with lightly. Thus,
creating excitement as an
argument is clearly going
to break out between
Shirley and Dean as she’s
going behind his back.
Those that have a
“personal relationship”
(Katz) with Kush will want
him to put himself first for
once as he’s always trying
his best to please
Shabnam, at the cost of
sacrificing his own needs.
Romance
The two shot used in the
opening scene denotes
Kush intimately holding
his girlfriend Shabnam.
The diegetic verbal code “I
want to show you off” is
said by Martin to Stacey
denoting he is smitten and
adores her.
The romantic scenes are
stereotypically likely to
have a strong impact on
“female” (Hartley)
viewers who fantasies
about romance and a
loving boyfriend.
SoapOpera Codes & Conventions continued
Textual Analysis
According to Rebecca Feasey in ‘Masculinity and Popular television’ (2007), the Soap
Opera genre tends to focus on:
“…The home, the family, domestic tribulations and the strong woman, and as such, it
has long been said to appeal to the female viewer”
1) - Do you agree?
All popular soap operas have storylines that focus on issues surrounding the home,
the family and domestic tribulations. This is because although soaps present
viewers with an exaggerated representation of everyday life, they do provide a
“window into the world” (Wendy Helsby) of everyday situations, which as viewers
we can “personally identify” (Katz) with. Some teenage viewers will be able to relate
to storylines like underage pregnancy, whilst adults are likely to relate to the family
conflict. There are many examples of “strong women” within the soap opera genre.
For example, Janine, Denise and Peggy from Eastenders are all examples of alpha

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females. There are many occasions where the presence of a “strong woman”
(Rebecca Feasey) in a soap challenges John Berger’s theory of “men act, woman
appear”. For example, there have been many examples in Eastenders where Janine
has “emasculated” men and used them for money.
Stereotypically, we associate a “female” (Hartley) dominated viewership when it
comes to soap operas. It’s possible that many “females” enjoy watching soap operas
because of the presence of a “strong woman”. The presence of an alpha female is
encouraging to female “social climbers” (Maslow) who want a more dominant
position within society.
As a regular viewer of soap operas I personally believe that there is truth in
Feasey’s theory. A prime example that I recall is when Tanya Branning from
Eastenders took on the role of a “strong woman”. Tanya discovered that her
husband Max cheated on her with the female character Stacey Branning. Tanya,
feeling completely betrayed and vengeful buried Max alive and left him for dead.
Other examples also include, Stacey killing Archie by hitting him over the head with
the Queen Vic statue and Peggy’s trademark line: “Get out of my pub!”
http://www.youtube.com/watch?v=F8_ApPT6isY (First 5 minutes)
Below is a deconstruction of the opening 5 minutes of a sequence from the popular
ITV Soap Opera Coronation Street (1960 – Present). I have identified examples of
where Feasey’s (2007) ideology is presented to the target audience.
Code & Convention Evidence
Rebecca Feasey (2007) Ideology:
1. The diegetic verbal code “Thank you for what you did for Amy…You saved her life
Leanne” denotes that Leanne conforms to Feasey’s ideology of a “strong woman” as
she saved Amy from the fire. Stereotypically, males are presented as the hero, but in
this case Leanne took on the role of an alpha female and acted as the heroine.
2. Many of the scenes are set within the resident’s homes or involve families (mise-
en-scene). The street is a stereotypical example of a community, supporting
Feasey’s ideology of the focus on “the home”.
3. Cross cuts are used between each scene to denote the various female characters
standing up to men. The sequence features a domestic argument between the two
“strong women” regarding the burning down of the house. As Roy tries to interfere,

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the diegetic verbal code “stay out of this Roy!” said by Leanne presents him as weak
and dismissive, which is the “binary opposite” (Levi Strauss) to the strong and bold
character of Leanne. As Leanne successfully emasculates Roy, her role as a “strong
woman” is further emphasized.
4. The two women in the bar emasculate the two men, by putting them in their
place. The woman behind the bar answers Norris back by saying “we don’t know
that” as he blames Carla for starting the fire without any proof. The non-verbal code
of Norris’ embarrassed facial expression denotes him as weak in contrast to the
“strong woman” serving him. As he doesn’t respond to her comeback, it’s clear he is
scared of her. However, even before Norris is told off for interfering he is easily
emasculated due to his high pitched voice. Clearly, the casting of his character was
done with a lot of thought as they needed a male who could offer entertainment
through his feminine traits. The other man emasculated in this scene is Roy. Roy
orders a pink drink, stereotypically we associate the colour pink with the female
gender. Thus he is “signified” (De Saussure) to be the “binary opposite” (Levi
Strauss) of any sort of dominant alpha male and in fact quite feminine. He is further
denoted as timid as Carla dictates his actions through the diegetic verbal code “Let’s
go now...” and he obeys.
5. Jenny is at home with the baby conforming to Feasey’s ideology on the focus of
the “home”. A scene like this would definitely appeal to a “female” (Hartley) viewer
because of the stereotypical nurturing and motherly nature we assume most
females have.
6.) The females in this sequence are presented as “strong women” as they are
responsible for breaking all the news. The diegetic verbal code “Didn’t you hear?” is
said by Tracy to Leanne as she enlightens her about the fire.
7.) The verbal code “Zeanne...not hear, not today” is said as the Indian girl pulls
away the boy’s arm. This scene denotes a clear focus on “family” as they are
struggling with the loss of a loved one. However, she is also presented as a “strong
woman” who dictates the actions of the boy. There are many examples of “strong
women” in this sequence who come from a variety of different backgrounds and
races. This is important for Coronation Street to appeal to a broad range of female
viewers. Ultimately, it means that the role of a “strong woman” can appeal to all
female viewers, regardless of their “ethnicity” (Hartley).
“Multi-Stranded Narrative” Roy and Norris at the pub with the female residents.
Jenny at home.
Bethany having a go at David at home.
Leanne getting angry in the street.
 Family
relationships
and/or conflict
It is denoted that Bethany is annoyed with David for
not having completed his chores.

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Coronation Street Episode 2 – https://www.youtube.com/watch?v=sekLqwvN2w4
Code & Convention Evidence Impact on Audience
 Focus on working
class communities
“If you need any more
help just let me know” Roy
to the customers in his
café.
Sarah: “Where did you get
that from”
Bethany: “I bought it”
Sarah: “Yeah… With what
money”
Roy seems to be happy
doing his job and regular
viewers of the soap will be
aware he has been
working in the café for a
long time. It’s pleasurable
and comforting for
viewers to get the sense
that he is happy with his
life and his job is not a
nuisance.
Bethany is a student and
by the sound of Sarah’s
response, it sounds as if
she doesn’t have a lot of
money. Sarah’s curiosity
leads us to suspect that
the bracelet may have
been stolen, creating
suspicion in viewers.
Disequilibrium’ (Todorov)
The diegetic verbal code:
“If she turns up to that
courtroom on the arm of
Callum I shall drag her out
of there by the scruff of
her neck” – Gail says this
to her mother as she’s
angry that Bethany has
not arrived yet to support
her brother. This denotes
a “disequilibrium”
(Todorov) as there seems
to be a lack of family
support for the court case.
This diegetic verbal code
said by Gail is said right at
the beginning of the
episode. Starting the
episode with drama from
the outset will entice the
audience, as they know
more drama is to come.
 Romance The two person shot of
Leanne and her lover in
Roy’s Café denotes Leanne
gazing romantically into
her mans eyes, followed
by her stroking his face
lovingly. He kisses her on
the head returning this
affection.
The close relationship
between the two lovers
and their intimate
gestures will
stereotypically appeal to
“female” (Hartley)
viewers who are romantic.
 Other Themes &
Issues represented:
“Max if you can’t find your
grey socks just put the
black ones on!”
This diegetic verbal code
said by David represents
the difficulties of
guardianship and looking
after a child. Viewers who
are parents themselves

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Underage pregnancy –
“We need it to register the
baby”
will be able to “personally
identify” (Katz) with the
stress associated with
looking after a child.
This diegetic verbal code
is said to Faye by her
father, about her newborn
baby. The two person shot
of Faye and her father
connotes her innocence
and youth. She is very
small compared to her
father and so the fact she
has had a baby is very
surprising as she is still so
young. This storyline is a
prime example of issues
within the current
zeitgeist and so teenage
mums may be able to form
a “personal relationship`’
(Katz) with Faye as they
can “identify” (Katz) with
her situation.
SoapOpera Codes & Conventions continued
Textual Analysis
1) What is the purpose of a soap opera trailer?
The purpose of a soap opera trailer is to advertise the programme, often
through creating speculation about a particular storyline. Through watching
a trailer, viewers should be “informed” (Katz) about the upcoming storylines
of a soap and should successfully be persuaded into tuning in. There should
definitely be some sort of excitement, buzz or anticipation created to get
people talking about what’s to come which will increase the popularity of the
soap through word of mouth. Ultimately, leading to greater viewing figures.
Typically trailers for a soap opera air on the relevant channel. For example,
an Eastenders trailer would air on BBC and a Coronation Street trailer would
air on ITV. This is because with viewing figures being so important, the
business is extremely competitive. ITV would not air an Eastenders trailer
because this could result in a reduction in Coronation Street viewers, and so
they would lose money. However, with technological convergence increasing
soap opera trailers can be viewed anywhere, not just on TV. Many soap opera
trailers are available on Youtube which can be accessed on tablets, mobile
phones and laptops. It’s undeniable, that convergence plays a massive role in
the popularity and success of soap when it comes to modern day technology,
especially when considering multi-platform promotion. Videos on Youtube
can be shared onto other sites such as Facebook and Twitter or emailed to

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friends by a simple click of a button. Therefore, it’s very easy for a soap opera
trailer to gain a high number of views prior to the anticipated episode.
Many trailers use a multi stranded open narrative structure. This is
especially typical of Coronation Street and Hollyoaks trailers. Using an open
narrative structure is effective because viewers are unaware of the outcome
of the events witnessed and so the only way to learn the truth is to tune in.
Therefore, trailers tend to be most persuasive to “survivors” (Maslow).
However, it’s also usual for soap opera trailers to be single stranded. For
example, an Eastenders trailer was produced where Kat and Alfie’s dramatic
reunion was the focus. If one storyline is the core focus like in this trailer, this
connotes that it’s of significant importance and un-missable.
Furthermore, exhibiting a trailer is also useful so that audience feedback can
be gained and any relevant changes can be done before the episode airs. For
example, multiple trailers were released whilst the ‘who killed Lucy Beale?’
storyline in Eastenders unfolded. Social media sites such as Twitter and
Facebook were completely filled with comments made by viewers about who
they thought the killer was. As it took over a year for Lucy’s killer to be
revealed, it’s likely that changes were made as to who the killer was over
time, based on feedback received.
2) What are the benefits of Multi-Platform promotion of a media text?
- Fans/viewers are able to catch up on missed episodes through services
such as Iplayer. (They can also do this at their own convenience)
- It’s possible for a wider audience to be reached.
- With more ways for the media text to be viewed, it’s more accessible.
Ultimately, some form of Convergence is important when promoting a text to the
target audience.
3) Textual Analysis –
Below is a deconstruction of a sequence from Coronation Street. The following
elements are discussed:
 Multi-stranded narrative
 Character dilemmas
 ‘Personal Identification’ (Katz)

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https://www.youtube.com/watch?v=C_AU3BXAlhI
“It’s not everyday that your firstborn leaves home is it” – Mothers watching the soap
will be able to “personally identify” (Katz) with Sally’s heartbreak, as her daughter
Rosie is about to move out.
“I was up five times the other night with him” – Katy to Chesney. She is struggling
with the difficulties of parenting. Her tired facial expression denotes her lack of
sleep as a result of her responsibility as a mother. Katy says the diegetic verbal code
“You slept like a log last night” to Chesney denoting that she feels he doesn’t take
much of the responsibility despite being the father. Other mums may be able to
“personally identify” (Katz) and feel the same about their husband or boyfriend.
Character dilemmas: “I aint got no job” – Jason is tired of his life. His girlfriend is
leaving him and he is unemployed. Unemployment is a major issue in the zeitgeist
and so this storyline provides a “window into the world” (Wendy Helsby) of the
unstable financial security some people have.
Character dilemmas: “It looks like you!” Simon calls Carla a monster. Peter’s
character is facing a dilemma, as his son doesn’t seem to like the women he loves
and this is affecting their relationship.
A multi-stranded narrative is used. Roy is having a disagreement with another
character whilst at work, Gail isn’t impressed with the planned surprise party being
done for Stella and Katy is having a nightmare at home trying to look after the baby.
http://www.channel4.com/programmes/hollyoaks/4od
The above link will take you to some of the latest episodes of Hollyoaks.
1. What are the connotations of the ident for the popular Channel Four Teen
Soap Opera Hollyoaks (1995 – Present)?
The ident for Hollyoaks denotes both a male and female symbol, which is an
example of “binary opposition” (Levi Strauss). This connotes that the soap have a
target audience of both young “male” (Hartley) and “female” (Hartley) consumers.
To be specific, the soap has a main target audience of around 16-30 year olds. Since
the soap first broadcasted in 1995, its main focus has been the lives of students and
aspects of teenage life. Key focuses include romance, sex, underage pregnancy and
homosexuality. Although, all these themes are still explored in the soap, as the
characters have become older, other themes such as marriage have emerged.
However, the soaps target audience has not changed and is still predominantly
teenagers.
The connotations of the ident also “signify” (De Saussure) that there will be both
“male” and “female” drama in the soap and so will be relevant to all young people, in
one way or another. It could be a storyline like having issues with sexuality, or the
drama of family life for example. Hollyoaks is quite unique in the sense that the

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majority of its cast members are aged between 16 and 35. Other popular soaps such
as Coronation Street and Eastenders have a much broader age range when it comes
to the cast. Although having a broad target audience is important to increase the
chance of high viewing figures, it can be argued that one of the reasons Hollyoaks
has become such a successful soap opera is because it’s target audience is so specific
and therefore the needs of viewers can be precisely catered for.
Hollyoaks – “White Wedding Trailer” -
http://www.youtube.com/watch?v=Bu2sW-r9Vb4
2. Below is a deconstruction of the Hollyoaks white wedding trailer. The
following elements are all discussed:
 Binary opposition of the non-diegetic music
 Symbolism of the non-verbal code of the tear
 Representation of Pregnancy
 Other examples that would impact the audience
The non diegetic incidental music is not a typical, church song you would expect to
hear at a wedding. Instead, it’s heavy, dark and haunting. It sounds as if has been
taken from a horror film because of the sinister voice of the singer. The lyric “It’s a
nice day for a white wedding” is certainly used in “binary opposition” (Levi Strauss)
to the dystopian setting, low key lighting and black outfits of the bride and groom.
It’s clearly anything but a “white wedding”. This can be considered in a literal sense
due to the colour black heavily featuring in the trailer. However, the connotations of
the lyric are also important. The colour white has connotations of purity and also
something that is clean. In contrast, the connotations of the colour black include
darkness and the idea of decay or something being ‘stained’. Even if viewers aren’t
familiar with the storyline or do not watch Hollyoaks they are provided with
“enigma clues” (Roland Barthes) that this wedding is going to go terribly wrong. It’s
going to be the “binary opposite” (Levi Strauss) to anything white as truth and
betrayal are revealed. For the guests, their memories will be ‘stained’ and marked
with the destructive day that is to come. The close up shot of the black tear falling
from Mercedes eye “signifies” (De Saussure) that it is her who has done something
wrong and this truth is about to unfold. Thus, there is no sense of purity that we
would expect from a bride, which represents her as a dangerous and reckless
female.
Mercedes is pregnant and getting married so she really should be happy. However,
her serious facial expression, and the emotionality she expresses towards the end
connotes that she knows her actions are catching up with her and this wedding is
ultimately doomed. The non diegetic incidental music slows down as the bride
walks past one of the male guests who waves at her. He smiles although his happy
expression quickly falls. Thus, it is “signified” (De Saussure) that he may know of
the destructive truth and he could be the character that reveals this in the wedding
episode.
A destructive wedding is further connoted through the shattering of the doll.
Although, the shattering of the child’s toy also connotes how Mercedes’ family is
about to fall apart. Clearly, the wedding is going to go wrong so now any chance of
bringing the baby into a happy world will no longer be possible. Although, it is
unusual that the bride is getting married whilst she is pregnant. This is effective in

20. 20
raising speculation in viewers of the trailer who are not familiar with the soap. We
start to imagine possibilities such as: “is it secrets about the baby that will cause the
wedding to fall apart?” Whether or not there’s a secret about the baby, it is denoted
that the theme of secrets will definitely be explored in the wedding episode. The
verbal code “to love, honor and betray “said by the non diegetic voice over denotes
some form of deceit.
Lastly, the close up shot of the black flower on the groom’s suit is also of great
significance, as well as the black petals being thrown by the two bridesmaids.
Flowers have connotations of romance and love. However, the black colour of the
flower on the groom and the petals connote that any sense of romance and love will
be destroyed.
Production Work
1) What is the role of a Producer?
The producer overseas all aspects of the production across the three stages: pre-
production, production and post – production. They manage everyone and ensure
everything is in place in order for the text to look fit for purpose. They are
responsible for making the scenes and orders for creating the media text. They
manage issues such as arranging exhibition/distribution and the hiring of key
individuals.
2) What is the role of a Director?
They oversee the creative aspects of the production and direct people in front and
behind the camera. They are responsible for giving the media text creative
direction as well as directing both the cast and technical crew in light of their vision.
A director will have an ideal visualization of what they want the text to be like once
completed. Their job is to assure that the crew and cast work together effectively in
order to make this a reality.
3) Institution research –
My soap opera trailer will be exhibited on BBC 2.
 BBC 2 is a broad-based mainstream channel that naturally targets
an older audience.
 Their key focus is to appeal to viewers aged 35-54 and to reach out
to a more culturally diverse audience.
 BBC 2 embraces all genres but factual programming is their
fundamental purpose.
 Viewers can find the finest Arts, History, Science, human interest
documentaries as well as leisure programmers.
 They aim for their output to be intelligent, rich in content yet
accessible and entertaining.
 BBC 2 is the original home of many classic comedies, including:
‘The Catherine Tate Show’ and entertainment panel shows such as
‘Have I Got News For You’.

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 They also air other favorites such as ‘Top Gear’, ‘Dragons Den’ and
‘The Great British Bake Off’.
 BBC 2 exhibits programs that “inform, educate and entertain” (John
Reith).
 BBC 2 launched on the 20th April 1964.