Textual analysis

1. Soap Opera Genre –
Independent Textual
Analysis
Name: Liam De Costa
Candidate Number: 6146
Center Name: St. Paul’s Catholic College
Center Number: 64770
OCR Media Studies – A2 Level
Unit G324: Advanced
Portfolio

2. Trailer 1 – Who killed Lucy Beale? – Eastenders
http://www.youtube.com/watch?v=5vDuvkmOyXQ
Verbal Codes
Dialogue: The first verbal code in the form of the diegetic dialogue, “What if the person that killed her, was someone
that she knew?”, sets the scene for the investigation into the murder of the character Lucy Beale by the cast in
Eastenders. This ‘signifies’ (De Saussure) a new story arc that can now be explored and dive into the inner
personalities of individual characters who are deeply impacted by this death. Next, the verbal code of the diegetic
dialogue, “You killed Lucy”, foreshadows the confrontation of who may have done the murder. The connotations of
the dialogue not being accompanied by a scene of the conversation emphasises the trailer to allow audiences to
evaluate the potential suspects from the character’s voice. This would further increase the suspension of the
following episodes for audiences, leading them to want to know more within the soap opera; captivating potential
viewers as well as existing.
Voiceover: The verbal code of the non-diegetic voiceover, “You never know what goes on behind closed doors”,
emphasises the tension the audience will feel between all the characters in the soap opera. This comment also
connotes that there are many secrets and events that are kept hidden by individual characters which are to
eventually resurface and continue the storyline.
Sound effects: The non-verbal code of the increasing clashing sound that is played during the fast paced cuts of the
different characters signifies the mass amount of potential suspects who may have killed Lucy. The increase in
volume also suggests that this tragic event is to come crashing down on someone when the murderer is found guilty,
further increasing the suspense within the drama.
Soundtrack: The non-verbal diegetic instrumental music throughout the trailer ‘signifies’ an impending question that
requires it to be answered. The music coincides with the pace of the transitional cuts between clips to increase the
suspense. This connotes that the killer is on the run and the chase is coming to an end to which the audience and the
characters will find out who killed Lucy Beale.

3. Non-Verbal Codes
Setting: The setting of the trailer is mainly indoors, with characters conversing in their homes about who is the
suspected killer. In relation to the dialogue, “You never know what goes on behind closed doors”, it connotes that the
conversations that the characters are having are in private and ‘behind closed doors’ as it is scandalous and something
the audience would expect from the soap-opera genre.
Lighting: The lighting is dark and dystopian, even in bright rooms, to represent the effect of a dark deed that has been
done. It also represents the emotions of the characters as they deal with the tragedy of Lucy’s death as they are
distraught, upset and angry.
Costumes: The outfits worn by the characters are casual and those typically associated with working class people. One
of the characters are shown to be wearing a formal blazer, shirt and trousers suggesting that he may have escaped the
working class stereotype associated to this genre.
Facial expressions and characters: The focus of the character’s facial expression are shown to be of distraught, anger
and worry. In one scene, a female character questions a male character’s whereabouts to which she presents a facial
expression of doubt. This connotes an implication that the male character is hiding something from his interrogator and
the audience. This is an example of a ‘strong, dominant female’ (Rebecca Feasey – 2007) as the female character takes
charge questioning the whereabouts of a male character, role-reversing the stereotype.
Technical Codes
Camera angles: The use of a high angle at the end of the trailer looking down on the cast of Eastenders connotes that
they are all vulnerable to the audience in that any one of them could potentially be the killer. In conjunction to this
high angle, the characters all glance up to the camera which connotes their appeal for innocence or even an apology.
Shot types: The technical code of the use of close up shots of the character’s faces allows the audience to focus on
their expressions and what their implied meanings are. This allows the audience to early identify who may possibly be
suspects to the investigation, further including them into the narrative. The use of medium close up shots provides the
setting of where the characters are which collectively is in isolation by themselves. This connotes the impact of Lucy’s
death on that character emotionally, which is anchored by the diegetic monologue of “it’s like we never knew her at
all”.
Camera movement: There is evidence of a zoom onto a character’s face, Max, which suggests that he may be the main
suspect of the murder. This camera movement is accompanied by the character’s expression of worry or concern which
further presents him in guilt and could be the enigma clue (Roland Barthes) the audience crave to see.

4. Trailer 2 – Official Hollyoaks Trailer: Fall Of Sienna
- http://www.youtube.com/watch?v=Vbr4pEzZOTo
Verbal Codes
Dialogue: The verbal code of diegetic dialogue “What makes you so sure they are going to find you alive?” suggests a
darker side to the female character that is now being unveiled. The connotations of this dialogue questions whether
or not she is to murder the young boy or not. This contrasts the dialogue “..my beautiful Sienna..” in which she is
viewed by her fiancée who clearly does not know her as well as he thinks. Next, the verbal diegetic dialogue, “I’ve
fought hard to protect my family” suggests that the character of Sienna has a reason to justify for the outrageous
things she has done. This can be seen as a way to sympathise with the character and therefore present her as a
villain who is also a hero in their mind.
Voiceover: There isn’t a voiceover, possibly to allow the audience to focus on the dialogue between characters shown
in the trailer. This would also allow audiences to visualise who is saying the dialogue rather than question who it
might be. Also, due to regional identity of the soap opera, the characters do not contain individually distinct voices
as to separate them apart which could confuse the audience if a voiceover were to be used.
Sound Effects: There possibly wasn’t any sound effects so as to not clash or dominate the dialogue spoken by the
characters in the trailer.
Soundtrack: The verbal code of the non-diegetic instrumental is used to emphasise the forthcoming destruction or
the ‘fall’ of this character. The music is also synchronous with the action that happens with the trailer such as the
scene where Sienna gets hit.

5. Non-Verbal Codes
Setting: The non-verbal code of the setting presents the soap opera in a working class environment as the scenes are
set in homes and a café. These locations connote the typical settings for a working class person to converse and/or
spend time. Because of this, it suggests why the conflict in the trailer happens in a café.
Lighting: There is a contrast in lighting as in the first scene the lighting is bright to signify a celebration (engagement)
but then switches to a dark location where a young boy is presented to be trapped in a basement. This contrast can
connote the two personalities that the character Sienna contains.
Costumes: The outfits that are worn in the trailer mainly present characters to be of working class as the males are
shown to be wearing formal shirts and the females to be wearing dresses and/or blazers. This can also contrast the
stereotype of a working class person as they are expected to be wearing casual attire.
Facial Expressions and Characters: The facial expressions of the characters change in accordance to the action
happening in the scene. The trailer starts in happiness as the facial expressions depict hope and a future for the two
characters engaged however it is quickly juxtaposed with the expression of horror by the young male character
prying against a wall to escape. These facial expressions suggest that the horror of this kidnapping has been in effect
for a while and the young male has grown desperate to escape.
Props: A scene of a young boy is presented to be ‘digging’ against a wall, scraping at the wall to create a form of
escape from his confinements. The progress in the wall is soon shown to be hidden behind a poster. This scene pays
homage to a famous narrative theme from the film ‘The Shawshank Redemption’ (1994 – Director: Frank Darabont).
Fans of the film would most likely realise this cameo and be interested to watch the forthcoming episode.

6. Technical Codes
Camera Angles: The technical code of high angle shots are used in the clip to present Sienna as the superior
character. This signifies her dominance or desperation to get what she wants. A clear representation of this is in the
scene when she is confronted by another female character in the café. The camera angle is used here to connote her
need to stay dominant in the current situation to conceal her secret from everyone.
Shot Types: The technical code of a close-up shot allows the capture of individual facial expressions of characters to
be exploited to their full potential for dramatic effect. An example is of a facial expression of the young male
character who is trapped, whereby the close up shot establishes his emotions of desperation and terror of the
situation he is currently in.
Camera Movement: The technical code of the zoom focuses the audiences attention on the close up shots of various
character’s faces. The connotation of this allows for an added emphasis on the character’s facial expression to give a
clearer indication of the character’s emotions towards the current situation. Furthermore it is used for dramatic
effect to exaggerate the situation to appear worse.

7. 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) – You need to use this theory in your analysis
The strengths in the trailer lie in the voiceovers and dialogue that are used while the clip transitions quickly between worried
and concerned facial expressions of different characters. This accompanies the fast paced music, which increases the impact
of the trailer on the audience by speeding up the action to grab the audience into wanting to know what is happening.
I will ‘repeat’ (Steve Neale – 1980) the synchronous music accompanying the cuts of the clips because I believe the theory of
‘less is more’ in terms of cinematography is very effective of providing a point that will engage audiences but not spoil the
story. I would have perhaps changed some of the shots of the various characters to possibly more shots of characters looking
guilty or add a few shots of Lucy with various characters before her death, arising suspicion between more characters within
the audience.
Trailer 2) – Areas of Strength and what you would ‘repeat’ (Steve Neale - 1980)
and/or ‘exploit’ (Abercrombie – 1995) – You need to use this theory in your analysis
The area of strength is in the dialogue spoken by the characters who provide an idea of the storyline that is to follow in the
forthcoming episode. It provides audiences with an insight into individual character’s views and attitudes towards Sienna and
the foreshadowing of her downfall. I would have chose to use voiceovers and dialogue with fast paced cuts to present this
trailer in a way that sympbolises Sienna’s ‘dark’ personality. I believe that this current plot in the soap should have been
presented as a crisis rather than a contrast of Sienna’s two personalities tumbling into one another. By the use of fast paced
cuts and voiceovers, the audience would be captivated by the minimal shots of different scenes and further attention would
be focused on the words spoken, providing for a more exaggerated output.