This document provides an analysis of two soap opera television show trailers: Hollyoaks (2017) and EastEnders. It analyzes the verbal, non-verbal, and technical codes used in each trailer. For Hollyoaks, it examines the dramatic verbal codes, use of music to build tension, and close-up shots of emotional facial expressions. For EastEnders, it discusses verbal foreshadowing of drama, the prison setting implying crime, and a shot from above a character looking out of a prison window. The document concludes by discussing conventions it would exploit or challenge from the two trailers if creating its own soap opera trailer, such as using a "strong woman" character or an original

1. Soap Opera Genre –
Independent Textual
Analysis
Name: Giacomo Pisa
Candidate Number: 3111
Center Name: St. Andrew’s Catholic School
Center Number: 64135
OCR Media Studies – A2 Level
Unit G324: Advanced Portfolio

2. Trailer 1 – Hollyoaks
https://www.youtube.com/watch?v=FC2DSqZZqzk
Verbal Codes
In the first sentence of the Hollyoaks 2017 trailer there is the diegetic verbal code of “I killed him” denoting a highly dramatic opening to
the trailer, a typical convention of the Soap Opera genre. This is shortly followed by the verbal code of “will you marry me?”. Therefore in
the only the opening 15 seconds of the trailer the themes of love and death have already been portrayed as being presented in the theory,
enticing the audience to watch the Soap Opera because there will be large amounts of drama, due to the various themes. In addition to
this to reinforce the dramatic theme of the Soap Opera there is a non diegetic soundtrack with a very fast paced tempo enforcing the
drama of the Soap Opera. Furthermore, the soundtrack gradually builds up before reaching a crescendo and stopping when the protagonist
uses the diegetic verbal code of “This is your last chance”, followed by “you have no idea what I’m capable of” and then the fast paced
track resumes. This again denotes the large amounts of drama expected in the upcoming series of the Soap Opera, seen as the protagonist
is on their “last chance”, but it does not give the story away because now the audience are intrigued to know why they are on their “last
chance” making the verbal codes of the trailer, both verbal and non-verbal, very effective in drawing in an audience. Furthermore, the
verbal code of “you have no idea what I’m capable of” foreshadows to the audience that there is going to be a form of crime or violence in
the upcoming series, another typical dramatic convention which is necessary for the Soap Opera genre. Lastly the diegetic verbal code of a
motorbike engine going at a high speed connotes to the watching audience that the series is going to move at a fast pace loaded with
genre, which is what the audience of the Soap Opera genre are expecting.
Non-Verbal Codes
Rebecca Feasey’s 2007 theory stating about the “strong woman” is contrasted in the Hollyoaks trailer
seen in the mise-en-scene of the trailer. Namely the non verbal code of a woman crying and another
woman resting her head on the shoulder of another male protagonist represents how woman
stereotypically see men as a stronger gender both emotionally and physically. Additionally the non
verbal code of the setting used and they cyclical structure of the trailer is another reason as to why it
attracts watcher of the Soap Opera genre. The establishing shot is of a crashed motorbike with the
motorcyclist lying motionless on the floor and then at the end of the trailer it cuts back to the same
setting with another protagonist running towards the motorcyclist. This effectively creates large
amounts of tension for the audience because the trailer both starts and finishes on a cliff hanger with
the watching audience left fearing for the life of the motorcyclist, meaning they personally identify
(Katz’s) and build a sense of empathy for the motorcyclist. Another effective non verbal code employed
by the director of the trailer is through the use of protagonist facial expressions and camera angles. The
camera cuts to two different characters at the start of the trailer and the camera zooms in on their face
to a close up shot depicting facial expressions of anger which convey how the drama effects all
characters and will be consistent throughout the series.

3. Technical Codes
The Hollyoaks Spring 2017 trailer is full of the technical code of close up camera angles which are
effective in seeing the facial expression of the protagonist which throughout the trailer ranges from
anger, to crying/sad to extreme happiness. This links to Katz’s Uses and Gratifications Theory as the
close up shots allow the audience to personally identify and relate to the protagonists in the trailer,
building a sense of empathy for the protagonists in the trailer. This depicts how the mood changes
throughout the series and the protagonists experience a range of different emotions, as do the
audience. Furthermore, the technical code of a broken frame long shot of a protagonist praying in a
church which could be used to connote the broken nature of the protagonist and how his life is broken
due to the drama of the Soap Opera and he is attempting to use the church as a way to reconcile his
life.

4. Trailer 2 – East Enders
https://www.youtube.com/watch?v=fkiobax0XPQ
Verbal Codes
There are numerous examples of verbal codes in the East Enders trailer which foreshadow the drama to come in the upcoming series.
Firstly, one protagonists leans in and says to a baby “Don’t fall in love”. This is an effective way of proving the upcoming drama because it
denotes how the theme of love is in the series, one of the most typical themes that causes drama in Soap Operas. Additionally, an
effective verbal code to highlight the drama of the Soap Opera genre is when a protagonist says “I think you need help” when in
conversation. This highlights how one of the protagonists has clearly experienced a lot of drama and been through a significantly bad
time in their life which the audience will go through with them when the series starts. Therefore during the series and the rollercoaster
ride of this protagonist, the audience can attach themselves and form a bond with the protagonist, which is a personal relationship
(Katz’s Uses and Gratifications theory) which will encourage them to watch the series every time its on.
There are also non diegetic verbal codes such as the soundtrack that accompanies the trailer which are effective in building tension and
suspense, and therefore drama. The non diegetic soundtrack from East Enders contrasts the soundtrack from the previous trailer,
Hollyoaks, as the one from East Enders is at a much slower tempo and has background singers singing at a high pitch. The slowed down,
high pitched tempo is successful in building high levels of tension and suspense as it makes the actions of the characters more dramatic.
Non-Verbal Codes
The use of non verbal codes such as the setting and in particular the setting of the prison highlight how there is the theme of crime in
the series and this is a common theme among soap opera series. Furthermore the repetitive use of effective facial expressions aid in
improving the trailer. The facial expressions are worried and angry which connote how there are numerous themes of violence and
conflict which are stereotypical themes associated with soap operas.

5. Technical Codes
The establishing shot of the East Enders trailer is immediately effective in creating drama that
the watching audience are expecting. The establishing shot incorporates an over the shoulder
shot of a protagonist looking out of a prison window and the camera is also at a high angle
looking down onto the protagonist. This connotes how the audience is above the protagonist
in terms of status (Maslow’s Hierarchy of Needs) because he is in prison so the audience
assume he is of a low status. However by using an over the shoulder shot of the protagonist
looking out the window the audience can personally identify (Katz’s Uses and Gratifications
theory) because it is almost as if the audience are in the position of the protagonist looking
out of the window to a bright white light which symbolizes the hope that he has but then the
reality of the metal prison bars convey how the hope is blocked by the prison. Furthermore,
there is the technical code of the camera panning to track one
of the protagonists in the trailer. The camera pans to reveal
how the protagonist is walking into the ‘Job Centre’ building
revealing to the audience how this particular protagonist has
lost her job and as a result the audience are drawn in and
eager to find out why she has lost her job, as there must have
been an element of drama involved.

6. Evaluation of Textual Analysis –
Compare and Contrast
Trailer 1)
For my Soap Opera trailer I would ‘repeat’ (Steve Neale - 1980) a broken frame shot as it is a good way of depicting the
feelings of a protagonists and also gives a change of camera shot from conventional close ups and medium close ups. In
addition to this I would also use a woman protagonist as a “strong woman” in accordance with Rebecca Feasey which
would attract a female audience who are primarily the main target audience for Soap Operas. Similar to the Hollyoaks
trailer I would also repeat (Steve Neale) the use of having very faced paced transitions in between each frame because
this increases the speed of the trailer and adds to the drama because the trailer is moving at a fast pace, which then
foreshadows to the audience that the series will move at a fast pace with non stop drama, meaning that the audience
can “personally relate” (Katz’s Uses and Gratifications theory) to the protagonists portrayed in the trailer and therefore
be more likely to watch the series.
Trailer 2)
There are also conventions that I would like to ‘exploit’ (Abercrombie – 1995) from the second trailer such as various
protagonist facial expressions that connote conflict, anger and worry to portray the problems that the protagonists are
experiencing in my soap opera. Conversely I will also ‘challenge’ (Steve Neale – 1980) conventions from the second
EastEnders trailer such as the setting. The setting will not be in the prison as seen in the trailer it will be predominantly
set in a woodland area as it is important to include an element of individuality and originality to ensure that as many
people as possible watch my soap and it doesn’t replicate other successful soaps completely.