The document provides a textual analysis of two soap opera trailers from Coronation Street and EastEnders. For the first trailer, the analysis notes the contrasting use of diegetic sirens and a non-diegetic upbeat soundtrack to create intrigue. It also examines the use of lighting, costumes, and camera techniques. For the second trailer, the analysis discusses the mysterious soundtrack, setting, costumes that establish a power dynamic between characters, and lack of voiceover. The analysis concludes by discussing conventions from the trailers that could be repeated or exploited in a new trailer, such as contrasting sound and image or minimal locations and voiceover.

1. Soap Opera Genre –
Independent Textual
Analysis
OCR Media Studies – A2
Level
Unit G324: Advanced
Portfolio
Name: Asuka Young
Candidate Number:4149
Center Name: St. Andrew’s Catholic School
Center Number:

2. Trailer 1 –Coronation street- tram crash promo
https://www.youtube.com/watch?v=UcVoNEhhICU
Verbal Codes – Comment on the use of Dialogue, Voiceover, Sound Effects or
Soundtrack
The non-diegetic soundtrack is contrapuntal with the diegetic sound of sirens- jazz/joyful beats. The song plays all the way
through, which almost connotes fake happiness during the siren scenes. The Volume of the diegetic sirens are louder then the
music, and is sudden- which may foreshadow the element of shock. The verbal code of the non-diegetic lyrics “It’s just out on
the street where you live’ may ‘signify’ (De Saussure) that trouble is on it’s way. This calls on viewers as they may feel
involved or identifying themselves in the Program, as where you live” may be also referring to the audience as well. The
Emergency/chaos sounds does not mix with the happiness, and it produces binary opposition (Claude Levi Strauss). The last
echo of sirens connotes that the happiness is getting slowly broken by an incident, as the song fades away and sirens take
over. This acts as a really enticing feature for the audience to potentially consume the upcoming episodes.
Non-Verbal Codes – Comment on the use of Setting, Lighting, Costumes, Facial
Expressions and Characters
Lighting is high key and warm in the first half and the setting is in a street where people have facial expressions with mixed emotions of
happiness and some with a gazing, loving expression towards somebody, which could represent the community connection. But as the
sirens come in there are scenes with low key lighting, with rushed movements by serious faced characters. Although the emergency
scenes are very short, the costumes does connote those of the hospital or the fire engine services. The use of the pipe in terms of
settings does connote a fire station, and so the audiences will know that something bad has happened immediately.
The clothing of the people on the street is quite casual and stereotypical according to age group and gender.
For example, the old woman at the beginning is wearing a long skirt, which connotes comfort and elder age. The fact that she gets off the
bus, is also stereotypical of this age group’s method of transport. Moreover, the main colours of the costumes for most of the characters
are red and black, which connotes danger, blood, tragedy and darkness. This suggests to the audiences, that those characters are going
to suffer in the upcoming series.

3. Technical Codes – Comment on the use of Camera Angles, Shot Types and Camera
Movement
In terms of editing, the slow motion in the streets contradicts the real-time movement for the emergency services and gives the
connotation of the contrast between dream and real-life, as the spectators are already familiar with the real time movement,
more than the slow motion and as such associate this with a flashback or see this as a something of a ‘disequilibrium’
(Todorov). The technical code of medium close-ups to close-up of different groups of people presents connections between
people using cuts. The repeated use of an Eye-line match connotes that everyone is equal, and the community is one. From
every shot to shot, the next group of people is in the background/near them. (composition), which connotes the connection
between people/characters within the community, whereas the emergency siren scenes were full of different camera angles
(from high-angle to low-angle, from a long shot to a close-up etc), which not only signify the lack of close connection between
people in the scene, but solidifies the binary oppositions (Claude Levi Strauss ) of mood and narrative, which is chaos in
contrast with orderly sequence.

4. Trailer 2 –Kat and Alfie Trailer- EastEnders - BBC One
https://www.youtube.com/watch?v=8p4xlLezos0
Verbal Codes – Comment on the use of Dialogue, Voiceover, Sound Effects or Soundtrack
The non-diegetic soundtrack is very western and mysterious, connoting that there is an element of mystery for the audience. High pitched
ringing tone with the sound effects of footsteps also ‘signifies’ (De Saussure) that something important that effects others is approaching. This
kind of sound builds up expectations for the audiences, thus succeeding in gaining their attention. The diegetic sound of the wind and the
squeak at the beginning is there for the first few scenes. These diegetic sounds represents the wrecked state of this place, and makes the
character that seems to have came back somewhat like a hero- (counter stereotypical of female gender). The diegetic dialogue denotes
“Where do you get a drink around ‘ere?’ sounded very robotic and calm, representing that she is a powerful character. This also sounds quite
colloquial as well through the exaggerated “ere” phrase that viewers would expect of a text set in the East End of London. The non-diegetic
soundtrack building up after Alfie coming up behind Kat Says “I think you’ll need one” represents that his status is higher than hers, along with
the dialogue’s connotations of the person judging/giving their own opinions about the other directly. In terms of sound effects, the sound of the
beats at the very end connotes the build up of tension and hatred emotion within the two characters, making the audience feel expectations for
entertainment involving conflict (Katz). Furthermore, the sound effects of the sand when Kat and Alfie is walking is important in order to
achieve realism in the trailer, so that the audience can be familiar with the scene.
Non-Verbal Codes – Comment on the use of Setting, Lighting, Costumes, Facial Expressions and
Characters- Link to Propp
The non-verbal code of the setting is a very wrecked, countryside place but based on streets. The lighting is quite high key, which represents
that something new/hope has came into the street. The woman’s costume signifies a ‘cow-boy’ type of character, who are stereotypically
strong mentally and physically. Her facial expressions are quite static and serious too, which adds to this strength and thus conforms to
Rebecca Feasey’s (2007) views of there usually being a ‘strong, active female’ in the genre. Moreover, from these features the audience are
informed that she is the heroine of the upcoming series (Propp). There was a flying paper across a house at the beginning which represents
the untidiness of the “rough” area. The fact that she is wearing boots and drops her bag connotes homecoming.
The facial expression of a woman turns from smiling to unhappy, which connotes that the woman who appeared is not wanted in the
community, which is a significant part in the narrative for the audiences. The costume of the man is all black, and this represents particularly
his authority and his calmness to her appearance, which is different and almost a binary opposite (Claude Levi Strausse) to the other
characters’ reactions. This overall gives an impression to the audience that he is close to being the villian, (Propp) as his facial expression
connotes that he is against the heroine. This represents the significance and importance of these two people and the foretelling of conflict in
the upcoming episodes.

5. Technical Codes – Comment on the use of Camera Angles, Shot Types and Camera Movement
In the cuts in between the woman and other people in the community, people are shown in medium close-ups/close-ups. This
connotes the disruption of others’ lives due to the woman’s appearance. The camera movement of the woman from her toe to
her head represents the mysterious, surprise-element of her to the audience, by revealing her identity for the last. The
technical code of the low angle of the man when he appears represents his authority and higher status over the woman. This
also applies in the technical code of the point-of-view shot from her legs, looking at the man. Moreover, this shot may connote
something similar to running away/hiding from the man, which puts the audience in the position of fearing him. This way, the
audience knows that something big of a trouble has appeared. The shallow focus on the camera whenever she is there
represents her importance in the scene- however, when the man appears, there is a pull-focus to the man, connoting the shift
in power. The little pan when Kat turns around to see Alfie, centers around Kat, connoting that she is still an important
character, regardless of the appearance of a more dominant character.

6. 6
Evaluation of Textual Analysis –
Compare and Contrast
Trailer 1) – Areas of Strength and what you would ‘repeat’ (Steve Neale) or “exploit”
(Abercrombie – 1995) – You need to refer to this theory
In this trailer, the main points to repeat (Neale said that genres are instances of repetition and difference) lied on the powerful
use of contrapuntal, and perhaps asynchronous sound and moving images to create a strong effect. Therefore in my trailer, I
may include some contrasts to represent something like a trouble that is going to happen. The use of lighting was very important
here too to set the mood of each scenes, darkness connoting sad, tragic emotions and brightness connoting happiness and joy,
so I may consider that too. The speeds in which everything is going on was altered in this trailer, which did create an interesting
effect to the audiences. Slowing down the speed to make it dramatic/speeding it up to make it action packed may be good as
well. However, the parts in which I would make a difference (Neale), may be the soundtrack of the trailer, as some people in front
of the TV can be passive, they may not listen out to the lyrics. Therefore instrumental soundtracks may speak more to them. In
terms of exploiting (Abercrombie),
Trailer 2) – Areas of Strength and what you would ‘repeat’ (Steve Neale) or “exploit”
(Abercrombie – 1995) – You need to refer to this theory
In this trailer, there was a sense of a clear structured narrative compared to the first one, which is a repetition of a trailer
convention, but in an unconventional setting- which made a difference to this repetition (Neale). Furthermore, I think using only
one location would make a trailer memorable, as there is less to remember. This trailer also had a clear theme in terms of
costumes and props etc, which has allowed the audiences to see the narrative clearly and simply, using the surrounding
environment, rather than pieces of the actual TV Programme together. Therefore having minimal locations may also be a good
idea for my trailer. For both of these trailers, there was little or almost no voice overs, which did create a unique effect and a
chance for the audience to think about the trailers for themselves, which was good in my opinion. This is also a good way to
inform audiences who are quite passive, and I may repeat (Neale) this convention for my trailer.

7. 6
Evaluation of Textual Analysis –
Compare and Contrast
Trailer 1) – Areas of Strength and what you would ‘repeat’ (Steve Neale) or “exploit”
(Abercrombie – 1995) – You need to refer to this theory
In this trailer, the main points to repeat (Neale said that genres are instances of repetition and difference) lied on the powerful
use of contrapuntal, and perhaps asynchronous sound and moving images to create a strong effect. Therefore in my trailer, I
may include some contrasts to represent something like a trouble that is going to happen. The use of lighting was very important
here too to set the mood of each scenes, darkness connoting sad, tragic emotions and brightness connoting happiness and joy,
so I may consider that too. The speeds in which everything is going on was altered in this trailer, which did create an interesting
effect to the audiences. Slowing down the speed to make it dramatic/speeding it up to make it action packed may be good as
well. However, the parts in which I would make a difference (Neale), may be the soundtrack of the trailer, as some people in front
of the TV can be passive, they may not listen out to the lyrics. Therefore instrumental soundtracks may speak more to them. In
terms of exploiting (Abercrombie),
Trailer 2) – Areas of Strength and what you would ‘repeat’ (Steve Neale) or “exploit”
(Abercrombie – 1995) – You need to refer to this theory
In this trailer, there was a sense of a clear structured narrative compared to the first one, which is a repetition of a trailer
convention, but in an unconventional setting- which made a difference to this repetition (Neale). Furthermore, I think using only
one location would make a trailer memorable, as there is less to remember. This trailer also had a clear theme in terms of
costumes and props etc, which has allowed the audiences to see the narrative clearly and simply, using the surrounding
environment, rather than pieces of the actual TV Programme together. Therefore having minimal locations may also be a good
idea for my trailer. For both of these trailers, there was little or almost no voice overs, which did create a unique effect and a
chance for the audience to think about the trailers for themselves, which was good in my opinion. This is also a good way to
inform audiences who are quite passive, and I may repeat (Neale) this convention for my trailer.