Propp's character roles and narrative functions extension task
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1) The document discusses two soap opera trailers, analyzing them through Propp's character roles and narrative functions. 2) In the EastEnders trailer, the antagonist is the son of Lucy Beale, who is seen threatening and fighting with his mother at the end of the trailer, hinting he may have murdered her. 3) The Hollyoaks trailer depicts a wedding with a dispute over the bride, leading the antagonist to kidnap a baby, presenting a challenge for the protagonists to overcome.
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Propp's character roles and narrative functions
The document discusses Propp's character roles and narrative functions as seen in trailers for the soap operas Hollyoaks and EastEnders. In Hollyoaks, characters taking on hero, villain, and false hero roles are identified. A narrative of victory is seen as a woman confronts the "hospital killer." In EastEnders, a woman's aggressive actions suggest she is a villain, while a man receiving dying flowers may be a false hero or villain. Trickery and villainy disrupting a family are identified as narrative functions.
Propp's Character Roles and Narrative Functions - Unit G324
The document discusses Propp's character roles and narrative functions as they relate to two soap opera trailers.
In the first trailer, the mother appears as the "false hero" and "villain" holding a knife with threatening expression. The boy with flowers could be a "donor".
In the second trailer, the man chasing others is the "villain" while the three fleeing are the "heroes". Their pursuit ends with the villian gaining advantage as they reach a dead end.
Propp's Character Roles and Narrative Functions
The document analyzes two soap opera trailers from Eastenders and Hollyoaks using Propp's character roles and narrative functions.
For the Eastenders trailer, the young boy is identified as the villain based on his damaging of property and intent to harm the woman. The woman is seen as the princess due to her vulnerability. She could also be seen as a false hero by deciding not to marry her fiancé.
For the Hollyoaks trailer, the fiancé is identified as the villain for cheating and lying. The bride is the princess who is unaware of his deception. The man seeking revenge is the hero. A girl informing the hero of the villain's misdeeds fulfills the
Propp's character roles and Propp's narrative functions
This document discusses the soap opera genre and Propp's character roles and narrative functions as they relate to two soap opera trailers. It analyzes the trailers from Coronation Street and EastEnders in terms of Propp's roles of villain, princess, and fake hero. It also examines narrative functions like exposure, struggle, and punishment that appear in events within the trailers.
Trailer Textual Analysis
This document provides an analysis of two soap opera trailers. For the first trailer, the student summarizes the effective use of changing soundtracks and dialogue to shift the tone from happy to tense. They also note the use of lighting and costumes. For the second trailer, they comment on the setting, costumes, and camera angles, but find it less compelling than the first. Areas they would repeat include the first trailer's soundtracks and final fight scene. They would exploit transitions in their own trailer.
Propps Character Roles and Narrative Functions - Sean Wayne
This document discusses Vladimir Propp's character roles and narrative functions theories and applies them to analyze characters and events in trailers for the soap operas EastEnders and Coronation Street. In EastEnders, a mother is a "false hero" and a man is a "hero." In Coronation Street, a woman is a "villain" and a bride is a "false hero." Propp's functions of "wedding" and "meditation" are seen in EastEnders, while "meditation" and "difficult task" occur in Coronation Street as a bride reveals a secret to her husband.
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The document discusses Propp's character roles and narrative functions as seen in trailers for the soap operas Hollyoaks and EastEnders. In Hollyoaks, characters taking on hero, villain, and false hero roles are identified. A narrative of victory is seen as a woman confronts the "hospital killer." In EastEnders, a woman's aggressive actions suggest she is a villain, while a man receiving dying flowers may be a false hero or villain. Trickery and villainy disrupting a family are identified as narrative functions.
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The document discusses Propp's character roles and narrative functions as they relate to two soap opera trailers.
In the first trailer, the mother appears as the "false hero" and "villain" holding a knife with threatening expression. The boy with flowers could be a "donor".
In the second trailer, the man chasing others is the "villain" while the three fleeing are the "heroes". Their pursuit ends with the villian gaining advantage as they reach a dead end.
Propp's Character Roles and Narrative Functions
The document analyzes two soap opera trailers from Eastenders and Hollyoaks using Propp's character roles and narrative functions.
For the Eastenders trailer, the young boy is identified as the villain based on his damaging of property and intent to harm the woman. The woman is seen as the princess due to her vulnerability. She could also be seen as a false hero by deciding not to marry her fiancé.
For the Hollyoaks trailer, the fiancé is identified as the villain for cheating and lying. The bride is the princess who is unaware of his deception. The man seeking revenge is the hero. A girl informing the hero of the villain's misdeeds fulfills the
Propp's character roles and Propp's narrative functions
This document discusses the soap opera genre and Propp's character roles and narrative functions as they relate to two soap opera trailers. It analyzes the trailers from Coronation Street and EastEnders in terms of Propp's roles of villain, princess, and fake hero. It also examines narrative functions like exposure, struggle, and punishment that appear in events within the trailers.
Trailer Textual Analysis
This document provides an analysis of two soap opera trailers. For the first trailer, the student summarizes the effective use of changing soundtracks and dialogue to shift the tone from happy to tense. They also note the use of lighting and costumes. For the second trailer, they comment on the setting, costumes, and camera angles, but find it less compelling than the first. Areas they would repeat include the first trailer's soundtracks and final fight scene. They would exploit transitions in their own trailer.
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This document discusses Vladimir Propp's character roles and narrative functions theories and applies them to analyze characters and events in trailers for the soap operas EastEnders and Coronation Street. In EastEnders, a mother is a "false hero" and a man is a "hero." In Coronation Street, a woman is a "villain" and a bride is a "false hero." Propp's functions of "wedding" and "meditation" are seen in EastEnders, while "meditation" and "difficult task" occur in Coronation Street as a bride reveals a secret to her husband.
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Propp's character roles task
The document analyzes two soap opera trailers using Propp's character roles and narrative functions. For EastEnders, Mick is identified as the hero who departs to confront villain Dean. In Coronation Street, an older man saves a distressed woman from a car, acting as the hero. Both trailers depict binaries of good vs. evil through the hero confronting threats posed by the villains.
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Trailer Textual Analysis Task
This document contains an analysis of two soap opera television show trailers: EastEnders and Coronation Street. The analysis identifies various verbal, non-verbal, and technical codes used in each trailer. The document then evaluates how conventions from the two trailers could be repeated or exploited in the author's own soap opera trailer to engage audiences. Specifically, it discusses using impactful dialogue, setting stories in familiar community environments, manipulating lighting to denote "good" and "bad" characters, and focusing on facial expressions and clothing to develop realism.
Propp's Character Roles and Narrative Functions Task
The document discusses soap opera genres and Propp's character roles and narrative functions. It analyzes two trailers from soap operas Eastenders and Coronation Street based on these concepts. In Eastenders, there is a struggle between the villain and hero, and punishment of the princess character. In Coronation Street, there is trickery by the villain, a struggle between two princess characters, and a princess seeks reconnaissance from other characters at the end.
Propps Character Roles And Narrative Functions - Maryasiye Kircin
Vladimir Propp analyzed Russian folk tales and identified recurring narrative elements. He developed a character role theory that identified 7 broad character types, including the villain, donor, princess, false hero, dispatcher, hero, and false hero. Propp also identified 31 narrative functions that commonly occurred in tales, such as struggle and hero's reaction. The document provides examples of how characters in soap opera trailers align with Propp's character roles and narrative functions.
Propp's character roles and narrative functions extension task
This document discusses three key concepts in soap opera genre:
1) Propp's character roles which refers to common character archetypes like heroes and villains.
2) Propp's narrative functions which are storytelling stages like conflict and resolution.
3) Two trailers for soap operas are analyzed in terms of how they represent heroes, villains, and the narrative stages of struggle and mediation. Facial expressions and music are used to convey danger and conflict between characters.
Textual Analysis of 2 soap opera trailers
This document provides an analysis of two soap opera trailers: Hollyoaks and EastEnders. For each trailer, the analysis examines the verbal codes of dialogue and soundtrack, non-verbal codes of setting, lighting, costumes and expressions, and technical codes of camera angles and shots. Strengths identified for exploitation include diegetic sounds in Hollyoaks that build intrigue, and upbeat soundtracks in EastEnders that emphasize drama. Repeated strengths would be quick cuts in Hollyoaks and happy music/end text in EastEnders that create interest and want to watch. Minimal locations, costumes/props and lack of voiceovers allow clear narratives for audiences to interpret.
Locations - Unit G324
1. The majority of the trailer will be filmed in Ashtead Village's high street due to its proximity to the school and ease of filming. Various shots of the shops and buildings from the street will be used to set the scene.
2. The body of filming will take place on the right side of the high street, which offers a variety of scenery needed for different themes. Tracking and panning shots will follow the main character.
3. Potential hazards of filming in a public location include recording people without consent and traffic. The filmmakers will be cautious of traffic and obtained permission from the local council to film, as indicated by the letter.
Propp's Character Roles and Narrative Functions
The document discusses the soap opera genre and analyzes two trailers using Propp's character roles and narrative functions. It identifies the villains and heroes in each trailer based on verbal codes like dialogue and technical codes like shot types and facial expressions. It summarizes the struggles between heroes and villains and the ways villains are exposed in each trailer.
Layer cake trailer analysis
The trailer introduces several characters from the film Layer Cake. The main character is portrayed as an anti-hero who is strong, calm, and ruthless. A princess character is introduced as a love interest who is portrayed as promiscuous. Other characters introduced are a cockney helper and a female antagonist who challenges stereotypes. The trailer uses lighting, music, and props like guns to set an atmosphere of danger, violence, and crime while also portraying the wealth of the criminal characters through shots of mansions. It provides scenes and glimpses of characters without revealing the full plot to intrigue audiences into seeing the full film.
The italian job
Michael Caine plays a charismatic but unconventional anti-hero in a British crime film from 1969. The film breaks conventions by making the audience root for the criminal protagonist. It features a team of helpers that accompany the anti-hero rather than a single helper. The trailer uses fast pacing, action scenes, and mystery to intrigue audiences about the plot of pulling off "The Italian Job" without giving too much away. It highlights the patriotic and comedic tone through references to British symbols and the characters.
Propp's character roles and narrative functions
This document discusses Vladimir Propp's character roles and narrative functions as they relate to soap opera genre trailers. It analyzes two trailers, one for EastEnders and one for Coronation Street. For EastEnders, the villain is the son who appears kind but is crafty, while the hero is the imprisoned father. For Coronation Street, the villain bullies others and the hero stands up to him despite odds against him. Both trailers depict the villain/hero contrast through lighting and confrontation between the two.
Narrative theory in halloween (1978)
The document analyzes the 1978 horror film Halloween using several narrative theories. It finds that the film's plot does not fully align with the expected structures outlined by Todorov, Propp, Levi-Strauss, Bordwell and Thompson, or Classic Hollywood Narrative. Specifically, it notes that the opening violates Todorov's model, key character roles from Propp are missing, and the "goal" is never truly achieved as outlined by CHN. However, it does identify some binary oppositions consistent with Levi-Strauss and character roles aligned with Propp within the film's narrative.
Characters in trailer
The document discusses the characters that will be included in a trailer for a slasher horror film. It will feature the following characters: Final Girl (Nina), Wanderer (Amber), Pervert/Jock (Kian), Popular Girl (Amber), and Geek. Each character type is described in 1-2 sentences. For example, the Final Girl will confront the villain and allow the audience to identify with popular characters. The Wanderer will be killed to start the slasher's killing spree. The Pervert/Jock will manipulate girls. The Popular Girl seeks attention. The Geek will come out of their shell. In closing, the document states these stock characters are crucial for audiences to
Horror representation
The document discusses character representations and conventions in horror films. It notes that typical characters include a vulnerable female victim, a male killer, and a heroic character, often female. Victims are usually young, attractive blondes portrayed as weak. The setting is commonly a remote family home in darkness with low lighting to build tension. Costumes also follow conventions, with victims dressed fashionably and killers in dark, mysterious clothes and masks. The document provides examples from Scream and discusses applying these conventions to the filmmaker's own project through victims, settings, and implied off-screen killers.
Propps character theory.
Vladimir Propp's theory proposes that certain character types, such as heroes, villains, princesses, and helpers, are commonly found across different narratives. The document analyzes trailers for the soap operas Emmerdale and EastEnders, finding examples that fit Propp's character types. In Emmerdale, a vulnerable older woman seems to be in danger and fits the princess role. EastEnders depicts Roxy as a princess in an abusive relationship. Both soaps include heroes who protect loved ones. EastEnders features a clear villain portrayed with red lighting. The analysis suggests following Propp's theory by including villain, hero, and princess roles in a soap opera to create mystery for audiences.
Propp's character roles and functions
The document discusses Propp's character roles and narrative functions as seen in two soap opera trailers. In the EastEnders trailer, a boy villain is identified by his scratched face seen in shadows. A man verbally accuses a woman, portraying a potential "false hero." The trailer ends with a car crash struggle. The Hollyoaks trailer does not show a villain until a hooded figure is seen running at the end, keeping the villain's identity secret. Both trailers feature pursuits without context to generate audience intrigue.
Propp's character roles and narrative functions
The document discusses two soap opera trailers and analyzes them using Propp's character roles and narrative functions. For the first trailer of New Years on EastEnders, Max is identified as "the villain" who struggles against Ian as the potential "hero". Ronnie is seen as "the princess" in her wedding dress. The second trailer of Summer on Emmerdale shows a man with a gun as "the villain" and a crying locked woman as the potential "hero victim". It also features a man as a possible "false hero" who later steals jewelry.
Part Five
The document discusses the use of character archetypes from Vladimir Propp's theory in a thriller. The main characters discussed are the princess/damsel in distress, the villain, and the hero. The damsel in distress character subverts stereotypes by being Asian and strong-minded. The villain is portrayed through dark colors and clothing to represent evilness. Character shots and music are used to further develop the archetypes and foreshadow events according to common storytelling conventions.
Introduction To Horror Sub-Genres
This document discusses various sub-genres of horror films. It outlines the key conventions and examples of supernatural, slasher, and psychological horror sub-genres. In supernatural films, evil spirits and possessions are common threats. Slasher films feature psychopathic killers targeting teenagers. Psychological horrors aim to undermine the audience's trust through twisted characters and plot twists. Key conventions include isolated settings, signature weapons, final girls, and graphic depictions of violence.
Trailer Overview
This document provides an overview and analysis of the opening scenes and trailers of several popular slasher films, including A Nightmare on Elm Street, Texas Chainsaw Massacre, Friday the 13th, and Halloween. It summarizes the key elements used in the opening shots to set the tone and setting, such as isolated rural locations filmed in darkness and rain to create an ominous atmosphere. It also analyzes the common character archetypes presented, including the final girl and sacrificial lamb. Finally, it examines the visual elements used to portray the killer/protagonist through their distinctive costumes, masks, weapons, and lack of emotion or dialogue.
Magazine Textual Analysis
This document analyzes the front cover of a magazine called "Inside Soap" that covers soap opera television shows. It summarizes several design elements of the cover:
1) The masthead is located at the top in red to connote danger or information which represents the soap opera genre.
2) Cover lines in bright colors are located in front of character images and at the bottom to summarize character storylines and upcoming episodes.
3) A large orange headline overlaps the content to signal it is most important, and uses "Bombshells!" to engage readers with drama.
4) Bright vibrant colors including orange, which could represent heating tension, are used to make the cover stand out
Timeline
This document provides a timeline and details for a short film, including:
1) It outlines the rising tension and dramatic mood changes from sad to climax.
2) It lists various locations that will be shot at like a park, pub, and house.
3) It describes key plot points and scenes including an argument at a pub where a character is confronted about cheating, a flashback at a park, and a fight scene at a house where wine is spilled.
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Trailer Textual Analysis Task - Unit G324
This document analyzes two soap opera television show trailers through textual analysis. For the first trailer from EastEnders, the analysis highlights strengths such as the use of a meaningful song and costumes that represent the characters' class. Techniques that would be good to replicate include shot reverse shot editing to foreshadow conflict and using consistent camera angles at the start and end. Some techniques like special effects would be difficult to replicate. For the second Coronation Street trailer, strengths identified are the realistic outdoor setting, fast-paced editing, and shots that build suspense around the antagonist character. Overall, the analysis evaluates techniques from the trailers that could be effectively used or improved upon in the author's own work.
Trailer Textual Analysis Task
This document contains an analysis of two soap opera television show trailers: EastEnders and Coronation Street. The analysis identifies various verbal, non-verbal, and technical codes used in each trailer. The document then evaluates how conventions from the two trailers could be repeated or exploited in the author's own soap opera trailer to engage audiences. Specifically, it discusses using impactful dialogue, setting stories in familiar community environments, manipulating lighting to denote "good" and "bad" characters, and focusing on facial expressions and clothing to develop realism.
Propp's Character Roles and Narrative Functions Task
The document discusses soap opera genres and Propp's character roles and narrative functions. It analyzes two trailers from soap operas Eastenders and Coronation Street based on these concepts. In Eastenders, there is a struggle between the villain and hero, and punishment of the princess character. In Coronation Street, there is trickery by the villain, a struggle between two princess characters, and a princess seeks reconnaissance from other characters at the end.
Propps Character Roles And Narrative Functions - Maryasiye Kircin
Vladimir Propp analyzed Russian folk tales and identified recurring narrative elements. He developed a character role theory that identified 7 broad character types, including the villain, donor, princess, false hero, dispatcher, hero, and false hero. Propp also identified 31 narrative functions that commonly occurred in tales, such as struggle and hero's reaction. The document provides examples of how characters in soap opera trailers align with Propp's character roles and narrative functions.
Propp's character roles and narrative functions extension task
This document discusses three key concepts in soap opera genre:
1) Propp's character roles which refers to common character archetypes like heroes and villains.
2) Propp's narrative functions which are storytelling stages like conflict and resolution.
3) Two trailers for soap operas are analyzed in terms of how they represent heroes, villains, and the narrative stages of struggle and mediation. Facial expressions and music are used to convey danger and conflict between characters.
Textual Analysis of 2 soap opera trailers
This document provides an analysis of two soap opera trailers: Hollyoaks and EastEnders. For each trailer, the analysis examines the verbal codes of dialogue and soundtrack, non-verbal codes of setting, lighting, costumes and expressions, and technical codes of camera angles and shots. Strengths identified for exploitation include diegetic sounds in Hollyoaks that build intrigue, and upbeat soundtracks in EastEnders that emphasize drama. Repeated strengths would be quick cuts in Hollyoaks and happy music/end text in EastEnders that create interest and want to watch. Minimal locations, costumes/props and lack of voiceovers allow clear narratives for audiences to interpret.
Locations - Unit G324
1. The majority of the trailer will be filmed in Ashtead Village's high street due to its proximity to the school and ease of filming. Various shots of the shops and buildings from the street will be used to set the scene.
2. The body of filming will take place on the right side of the high street, which offers a variety of scenery needed for different themes. Tracking and panning shots will follow the main character.
3. Potential hazards of filming in a public location include recording people without consent and traffic. The filmmakers will be cautious of traffic and obtained permission from the local council to film, as indicated by the letter.
Propp's Character Roles and Narrative Functions
The document discusses the soap opera genre and analyzes two trailers using Propp's character roles and narrative functions. It identifies the villains and heroes in each trailer based on verbal codes like dialogue and technical codes like shot types and facial expressions. It summarizes the struggles between heroes and villains and the ways villains are exposed in each trailer.
Layer cake trailer analysis
The trailer introduces several characters from the film Layer Cake. The main character is portrayed as an anti-hero who is strong, calm, and ruthless. A princess character is introduced as a love interest who is portrayed as promiscuous. Other characters introduced are a cockney helper and a female antagonist who challenges stereotypes. The trailer uses lighting, music, and props like guns to set an atmosphere of danger, violence, and crime while also portraying the wealth of the criminal characters through shots of mansions. It provides scenes and glimpses of characters without revealing the full plot to intrigue audiences into seeing the full film.
The italian job
Michael Caine plays a charismatic but unconventional anti-hero in a British crime film from 1969. The film breaks conventions by making the audience root for the criminal protagonist. It features a team of helpers that accompany the anti-hero rather than a single helper. The trailer uses fast pacing, action scenes, and mystery to intrigue audiences about the plot of pulling off "The Italian Job" without giving too much away. It highlights the patriotic and comedic tone through references to British symbols and the characters.
Propp's character roles and narrative functions
This document discusses Vladimir Propp's character roles and narrative functions as they relate to soap opera genre trailers. It analyzes two trailers, one for EastEnders and one for Coronation Street. For EastEnders, the villain is the son who appears kind but is crafty, while the hero is the imprisoned father. For Coronation Street, the villain bullies others and the hero stands up to him despite odds against him. Both trailers depict the villain/hero contrast through lighting and confrontation between the two.
Narrative theory in halloween (1978)
The document analyzes the 1978 horror film Halloween using several narrative theories. It finds that the film's plot does not fully align with the expected structures outlined by Todorov, Propp, Levi-Strauss, Bordwell and Thompson, or Classic Hollywood Narrative. Specifically, it notes that the opening violates Todorov's model, key character roles from Propp are missing, and the "goal" is never truly achieved as outlined by CHN. However, it does identify some binary oppositions consistent with Levi-Strauss and character roles aligned with Propp within the film's narrative.
Characters in trailer
The document discusses the characters that will be included in a trailer for a slasher horror film. It will feature the following characters: Final Girl (Nina), Wanderer (Amber), Pervert/Jock (Kian), Popular Girl (Amber), and Geek. Each character type is described in 1-2 sentences. For example, the Final Girl will confront the villain and allow the audience to identify with popular characters. The Wanderer will be killed to start the slasher's killing spree. The Pervert/Jock will manipulate girls. The Popular Girl seeks attention. The Geek will come out of their shell. In closing, the document states these stock characters are crucial for audiences to
Horror representation
The document discusses character representations and conventions in horror films. It notes that typical characters include a vulnerable female victim, a male killer, and a heroic character, often female. Victims are usually young, attractive blondes portrayed as weak. The setting is commonly a remote family home in darkness with low lighting to build tension. Costumes also follow conventions, with victims dressed fashionably and killers in dark, mysterious clothes and masks. The document provides examples from Scream and discusses applying these conventions to the filmmaker's own project through victims, settings, and implied off-screen killers.
Propps character theory.
Vladimir Propp's theory proposes that certain character types, such as heroes, villains, princesses, and helpers, are commonly found across different narratives. The document analyzes trailers for the soap operas Emmerdale and EastEnders, finding examples that fit Propp's character types. In Emmerdale, a vulnerable older woman seems to be in danger and fits the princess role. EastEnders depicts Roxy as a princess in an abusive relationship. Both soaps include heroes who protect loved ones. EastEnders features a clear villain portrayed with red lighting. The analysis suggests following Propp's theory by including villain, hero, and princess roles in a soap opera to create mystery for audiences.
Propp's character roles and functions
The document discusses Propp's character roles and narrative functions as seen in two soap opera trailers. In the EastEnders trailer, a boy villain is identified by his scratched face seen in shadows. A man verbally accuses a woman, portraying a potential "false hero." The trailer ends with a car crash struggle. The Hollyoaks trailer does not show a villain until a hooded figure is seen running at the end, keeping the villain's identity secret. Both trailers feature pursuits without context to generate audience intrigue.
Propp's character roles and narrative functions
The document discusses two soap opera trailers and analyzes them using Propp's character roles and narrative functions. For the first trailer of New Years on EastEnders, Max is identified as "the villain" who struggles against Ian as the potential "hero". Ronnie is seen as "the princess" in her wedding dress. The second trailer of Summer on Emmerdale shows a man with a gun as "the villain" and a crying locked woman as the potential "hero victim". It also features a man as a possible "false hero" who later steals jewelry.
Part Five
The document discusses the use of character archetypes from Vladimir Propp's theory in a thriller. The main characters discussed are the princess/damsel in distress, the villain, and the hero. The damsel in distress character subverts stereotypes by being Asian and strong-minded. The villain is portrayed through dark colors and clothing to represent evilness. Character shots and music are used to further develop the archetypes and foreshadow events according to common storytelling conventions.
Introduction To Horror Sub-Genres
This document discusses various sub-genres of horror films. It outlines the key conventions and examples of supernatural, slasher, and psychological horror sub-genres. In supernatural films, evil spirits and possessions are common threats. Slasher films feature psychopathic killers targeting teenagers. Psychological horrors aim to undermine the audience's trust through twisted characters and plot twists. Key conventions include isolated settings, signature weapons, final girls, and graphic depictions of violence.
Trailer Overview
This document provides an overview and analysis of the opening scenes and trailers of several popular slasher films, including A Nightmare on Elm Street, Texas Chainsaw Massacre, Friday the 13th, and Halloween. It summarizes the key elements used in the opening shots to set the tone and setting, such as isolated rural locations filmed in darkness and rain to create an ominous atmosphere. It also analyzes the common character archetypes presented, including the final girl and sacrificial lamb. Finally, it examines the visual elements used to portray the killer/protagonist through their distinctive costumes, masks, weapons, and lack of emotion or dialogue.
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Magazine Textual Analysis
This document analyzes the front cover of a magazine called "Inside Soap" that covers soap opera television shows. It summarizes several design elements of the cover:
1) The masthead is located at the top in red to connote danger or information which represents the soap opera genre.
2) Cover lines in bright colors are located in front of character images and at the bottom to summarize character storylines and upcoming episodes.
3) A large orange headline overlaps the content to signal it is most important, and uses "Bombshells!" to engage readers with drama.
4) Bright vibrant colors including orange, which could represent heating tension, are used to make the cover stand out
Timeline
This document provides a timeline and details for a short film, including:
1) It outlines the rising tension and dramatic mood changes from sad to climax.
2) It lists various locations that will be shot at like a park, pub, and house.
3) It describes key plot points and scenes including an argument at a pub where a character is confronted about cheating, a flashback at a park, and a fight scene at a house where wine is spilled.
Prop list
The document is a prop list for a media production called "The Rising Sun" created by students Patrick Coll, Chloe Haynes, Emma Walker, and Zeyan Mirza. It details each prop needed, who is gathering it, when and where it will be used. Props include makeup, clothing, filming equipment, alcohol containers, and a death certificate. The total cost is £11.50 which each group member will contribute £2.88 towards.
Permission letter to film
The letter requests permission to film at four locations in Surrey - The Rising Sun pub, Rosebery park, St. Andrew's School in Leatherhead, and Epsom cemetery - on November 15th and 16th for an A-Level media coursework project filming a fictional soap opera trailer. It assures that filming will cause no harm or disruption to the public or environment, and that the student actors will be well-behaved as representatives of their school, which will oversee them. Contact information is provided for the media teacher in case of any questions.
The Rising Sun Script
The script is for a television drama titled "The Rising Sun" and consists of 26 scenes. It follows multiple characters including Chelsea, who suspects her husband Grant of murder, and Jodie, who is being stalked down an alleyway. The drama explores themes of domestic violence, cheating, and murder through shifting storylines between the characters. Kodaline's song "Pray" is used throughout as non-diegetic music to enhance the emotions of various scenes. The script ends by announcing the air time and channel for the new soap opera.
Filming Permission Email Evidence
A student named Chloe Haynes with candidate number 1141 attends St. Andrew's Catholic School with center number 64135. She is requesting filming permission and has provided an email as evidence, which also lists three other students: Patrick Coll with candidate number 1102, Emma Walker with candidate number 1252, and Zeyan Mirza with candidate number 1178.
Letter to record label
St. Andrew's Catholic School students are writing to request permission to use lyrics from the song "Pray" by Kodaline in their A-Level Media Studies soap opera trailer. They feel the selected lyrics fit well with the themes of relationships and domestic violence that will be covered. Only a short excerpt of the song will be used as the trailer must be between 45 seconds and 1 minute 30 seconds. The trailer will be placed on the school's educational blog and YouTube for assessment purposes. The letter is signed by four students and includes contact information for their media teacher if any issues arise.
The Rising Sun mind map- Pre production planning
This document provides a mind map for pre-production planning of a new soap opera called "The Rising Sun". It summarizes that the soap will focus on 4 main characters (2 male, 2 female) and represent common social issues like domestic violence, adultery, and murder. It will be set in a working class neighborhood near a pub, shops, and park. While following typical soap opera genres and narratives around love, drugs, and crime, it aims to feel realistic so viewers can relate to the characters and stories. The soap is targeted at a younger audience and will air on BBC Two weekday evenings at 8:30pm to attract viewers after children have gone to bed but before older audiences lose interest.
Storyboard
This document contains a storyboard for a video with 26 shots depicting scenes involving characters Chelsea, Grant, Ali, and Jodie. The storyboard includes descriptions of each shot including camera angles, camera movements, shot types, and song lyrics from the song "Pray" by Kodaline that correspond to each scene. It also lists the names of four students and a school along with shot numbers and timing for each shot.
Magazine mind map
1) This document provides research and inspiration for creating the front cover of a TV soap opera magazine, including analyzing competitors like Inside Soap.
2) Key details researched include the magazine's target audience (working class), pricing (around £1.65), common design elements (bold colors, informal language, headlines/images), and need for synergy with social media.
3) The document concludes by outlining next steps to purchase a sample magazine, organize props/outfits, choose fonts, and use design software to create the mock front cover.
Poster textual analysis v2
The document analyzes soap opera promotional posters for the shows EastEnders and Hollyoaks. For EastEnders, the summary is:
- The tagline hints at upcoming dramatic events and uses punctuation for dramatic pauses.
- The iconic location of Walford is included to appeal to fans and new viewers.
For Hollyoaks, the summary is:
- The characters are manipulated to look like they are on fire, hinting the events will be dangerous.
- The tagline emphasizes the importance of not missing this series.
Primary research results
The document summarizes primary research results about creating a soap opera. When asked for name ideas, the most popular response was "The Rising Sun" because it refers to a nearby pub where filming may take place. Audience feedback on plot elements showed adultery and relationships as most important and domestic violence as least important. Younger audiences preferred themes like school and relationships over violence. Male audiences preferred action, attractive women, and sports over realism. Most felt soap operas are unrealistic representations of life. The conclusion is that the soap opera will be called "The Rising Sun," touch on various plot themes, be overdramatic, and market primarily through a television trailer.
Soap opera genre Target Audience
The document discusses the target audience of soap opera genre media texts. It states that soap operas typically target women over men, as women are more emotionally engaged with the emotional topics explored in soap operas. It also notes that soap operas air during daytime and early evening hours when stereotypically women are at home while men are working. The target audience is also described as generally working class and dealing with similar life issues to those addressed in soap opera stories.
Textual analysis of 2 soap opera trailers
The document provides an analysis of two soap opera promotional trailers from Hollyoaks and Eastenders. For the Hollyoaks trailer, the analysis notes the use of dialogue around a missing baby and an upcoming marriage to hint at plotlines. Facial expressions and lighting are used to characterize different characters. Fast cuts and a broken frame shot are used to convey the pace of the series. The Eastenders trailer features dialogue around a wedding and a troubled child. Costumes, lighting and a hockey stick are used to characterize relationships and foreshadow violence. Both trailers effectively engage audiences through their use of soundtracks, cliffhangers, and characterization.
Poster mind map
The document contains planning and research by a student named Patrick Coll for an ancillary product - a poster - to promote a soap opera called "The Rising Sun". It discusses potential themes for the poster like dark, red wine, and bright. It also considers ideas for a tagline, images needed, synergy with social media and a magazine, including point of call information, and software to create the poster. The student concludes they will take character photos, add effects, source props to express traits, find a font style, and use Pixelmator and Photoshop to produce and finish the poster.
Music Permission - Email Evidence
Music Permission – Email provides evidence for a candidate's media studies portfolio. The evidence shows the candidate, Zakary Winsall with candidate number 2144 from St. Andrew's Catholic School with center number 64135, attempted to contact BMG to request permission to use music in their OCR Advanced Portfolio for Unit G324 but did not receive a response.
Prop List
This document contains a prop list for a media production called "Walton Hill" created by a group of 4 students - Jonny Sheehan, Dan Sgarbini, Adam Fox, and Zak Winsall. The list includes a personalized cake with the Walton Hill logo sourced by Jonny, a coffee mug coffee shop set, phones for cast members, and various cameras, tripods, and baking equipment sourced from the school for food technology scenes. It also lists extras for the production.
Ancillary Product 1 Textual Analysis
This document analyzes the cover of a soap opera magazine. It discusses several design elements used on the cover to attract readers' attention and build hype for upcoming episodes. These include a prominent date, red masthead, central images of characters involved in an advertised story, headlines using words like "bombshells" and "crash" to leave readers on a cliffhanger, and cover lines with images and text for additional stories. The analysis suggests these elements are intended to entice readers to learn more secrets and stories from their favorite soap operas in the magazine.
Ancillary Product 2 Poster - Analysis Task
This document analyzes features of three soap opera posters, including their taglines, images, logos, and social media integration. It discusses the connotations created by the manipulated fiery image in the Hollyoaks poster. It also likes the simple darkening of the background image in the student exemplar, which implies an eerie feeling. Features it would include in its own poster are a manipulated image connoting intense emotion, social media links to build awareness, and clear logos and air dates. It concludes by reflecting on useful features across the posters.
Script - Walton Hill
This document contains a script for a short film called "Walton Hill". It describes 23 scenes that establish the setting and introduce characters and conflicts through flashbacks. The scenes use music and visuals to show issues like drug use, lies, adultery, murder, fighting, and baking a "cake" representing the conflicts. At the end, there is a voiceover announcing the new soap opera and its time slot.
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Soap Opera Genre - Textual Analysis
This document provides a textual analysis of two soap opera trailers. For trailer one, the analysis highlights the use of sad instrumental music, hostile dialogue between characters, and scenes showing bullying and flirting. Settings, costumes, and facial expressions further depict tension and depression. Trailer two features dialogue about reducing a prison sentence, sinister music, and heart monitor sounds building suspense. Angry facial expressions and a cunning look contrast prison and court settings. Both trailers utilize techniques like camera angles, cuts, and shots to portray power dynamics and build tension between characters. The document evaluates strengths of each trailer, noting areas that could be repeated or exploited in new soap opera trailers.
Analysis of Jessabelle trailer
The document analyzes the trailer for the horror film Jessabelle. It summarizes the target audience as those 15 and older of any gender or social class who enjoy horror movies, especially those produced by Blumhouse Productions. It then analyzes the cinematography, editing, sound, and mise-en-scene techniques used in the trailer to build tension and fear, establish characters, and adhere to horror genre conventions through the use of lighting, shot types, sound effects, and an isolated setting. Finally, it discusses how the trailer follows Vladimir Propp's character theory of the vulnerable female character seeking help from male heroes but does not fully follow Todorov's narrative theory of beginning in equilibrium.
Analysis of jessabelle trailer f
The document analyzes the trailer for the horror film Jessabelle. It summarizes the target audience as those 15 and older of any gender or social class who enjoy horror movies, especially those produced by Blumhouse Productions. It then analyzes the cinematography, editing, sound, and mise-en-scene techniques used in the trailer to build tension and fear, such as low camera angles, fast cuts, ominous sounds, and dark, isolated settings. Finally, it discusses how the trailer adheres to some common horror conventions and character theories but not others through the depiction of the vulnerable female protagonist.
Analysis of Jessabelle trailer
The document analyzes the trailer for the horror film Jessabelle. It summarizes the target audience as those 15 and older of any gender or social class who enjoy horror movies, especially those produced by Blumhouse Productions. It then analyzes the cinematography, editing, sound, and mise-en-scene techniques used in the trailer to build tension and fear, such as low camera angles, fast cuts, ominous sounds, and dark, isolated settings. Finally, it discusses how the trailer adheres to some common horror conventions and character theories but not others through the use of a vulnerable female protagonist.
Analysis of Jessabelle trailer
The document analyzes the trailer for the horror film Jessabelle. It summarizes the target audience as 15+ males and females interested in horror movies from the production company Blumhouse. It then analyzes the cinematography, editing, sound, and mise-en-scene techniques used in the trailer to build tension and fear. Specifically, it discusses the use of camera angles, close-ups, editing techniques like blink cuts, diegetic and non-diegetic sounds, and the dark, isolated setting of an old wooden house by a lake. Finally, it analyzes how the trailer adheres to Vladimir Propp's character theory by portraying the vulnerable female lead seeking help from male characters but does not follow
Analysis of Jessabelle trailer
The document analyzes the trailer for the horror film Jessabelle. It summarizes the target audience as 15+ males and females interested in horror movies from the producer Blumhouse Productions. It then analyzes the cinematography, editing, sound, and mise-en-scene techniques used in the trailer to build tension and fear. Specifically, it discusses the use of camera angles, close-ups, editing techniques like blink cuts, diegetic and non-diegetic sounds, and the dark, isolated setting of an old wooden house by a lake. Finally, it analyzes how the trailer adheres to Vladimir Propp's character theory by portraying the vulnerable female lead seeking help from male characters but does not follow
Propps narrative
This document discusses Vladimir Propp's theory of narrative structures and character types and applies it to analyzing soap opera trailers. Propp suggested that every narrative has eight different character types, including antagonist/villain, hero/victim, donor, and helper. The document analyzes trailers for the soap operas Emmerdale and Hollyoaks, identifying examples of Propp's character roles in each trailer through shots and dialogue that portray struggle, emotion, advice, and assistance.
Propp's character roles and narrative functions extension task
The document discusses Propp's theories of character roles and narrative functions and applies them to analyze two soap opera trailers:
1) An EastEnders trailer shows Phil Mitchell as the hero and donor, Louise Mitchell as the princess, and another character as the villain.
2) An Emmerdale trailer depicts Andy as the hero struggling against the villain Robert over the princess Katie. Their conflict represents the narrative function of struggle according to Propp. The trailer also references Andy's wedding to Katie.
Propp's Character Roles and Functions Task
This document discusses two soap opera trailers and analyzes them using Propp's character roles and narrative functions. For the EastEnders trailer, it is difficult to identify character roles as no clear villain or hero is shown. Each character is presented as potentially credible for the killing to build suspense. For the Hollyoaks trailer, initially a male seems like the hero but is later shown in rage, making all characters seem like villains. Both trailers allow the audience to speculate on who committed the crime and connect through social media. The EastEnders trailer depicts villainy and violation of interdiction. The Hollyoaks trailer shows struggle and punishment at the end, suggesting one character as the killer.
AS Media - Narrative research task
Sam is bullied by another boy named George. In an attempt to get revenge, Sam's older brother lures George into the woods under false pretenses. Their plan was just to embarrass George, but it goes wrong when an argument starts and George ends up being pushed out of a boat and drowning. The others involved initially try to cover up what happened by burying George's body, but they eventually feel guilty and confess to the police. George's video camera is then discovered, revealing the full story.
Evaluation question 1
The document discusses how the media product, a horror film opening, uses and develops conventions of real horror films. It analyzes several key conventions used in existing horror films that were then incorporated into the opening, such as:
- Using the theories of Todorov and Propp to establish equilibrium, disruption, and a new equilibrium as well as character roles like hero and victim.
- Choosing a park location rather than a stereotypical forest to make it less predictable, while still including trees in the background.
- Developing characters with unique personalities while still including vulnerable teenagers and females as main characters and victims.
- Using dark lighting, ominous sounds, pathetic fallacy of stormy weather,
Stock characters in horror films Evaluation Question 1
The document discusses various stock character types that are commonly found in horror films, including the wanderer, popular girl, final girl, and pandora. It analyzes how these character types are portrayed in the author's student horror film trailer, and how they adhere to or challenge the conventions typically associated with these characters. For example, the trailer includes a wanderer character named Brooklyn who displays curious and fearful behaviors consistent with the trope. The final girl, Jessica, is presented in a way that leaves her fate ambiguous, challenging the expectation that she survives in order to build suspense for the audience. Overall, the document examines how the trailer utilizes established horror film character archetypes.
Evaluation question 1
The document provides an analysis of how the film opening uses conventions from real post-apocalyptic films in its mise-en-scene, props, costumes, camerawork, lighting, characters, music and sound effects. Specifically, it establishes a dreary forest setting, uses props like money and lighters that would be useful for survival, costumes the characters in dirty military clothing, employs close-ups of violence and shots that show the environment and its changes, uses dim lighting to depict a lifeless world, and includes non-diegetic music and natural sounds to set the mood. Overall, it demonstrates how the opening draws from tropes of the post-apocalyptic genre to develop a realistic and depressing tone.
3. Textual Analysis- Jordan Brace
This document provides an analysis of two soap opera trailers: Hollyoaks and EastEnders. For Hollyoaks, the trailer uses dialogue with cliffhangers, diegetic sound, and fast-paced music to create tension and intrigue. It features multiple settings and characters shown in mostly negative lights. EastEnders' trailer contains no dialogue or effects, relying solely on a dark, ominous song and freeze frames of characters with suspicious facial expressions across varied settings under low lighting. Both aim to entice viewers by depicting drama and mysteries without fully revealing details, leaving audiences wanting more information through continued viewing.
Stoker trailer analysis
This trailer summarizes the key elements of the psychological thriller "Stoker". It begins with an establishing shot that sets the scene in autumn. The main characters of the mother and daughter are introduced, with Nicole Kidman playing the mother. A recurring motif of a spider is shown, possibly representing themes in the film. Scenes depicting a funeral, the mysterious uncle, and the mother and uncle kissing hint at the disturbing family dynamics explored. The trailer contrasts calm scenes with one in a busy school. Supernatural elements are shown through a glowing phone box. Iconic horror conventions like a dead body and shower scene are presented. The trailer concludes with a title sequence and a final disturbing scene of the daughter burying something in the
Cabin in woods
The trailer summarizes the plot of the horror film "The Cabin in the Woods" in 3 sentences:
Four teenagers travel to an isolated cabin in the woods for a vacation. Unexpected horrors begin targeting each teen, and it becomes clear they are being controlled and watched by unseen forces. The trailer leaves the audience with an enigma as to what is harming the teens and does not reveal much of the plot, enticing viewers to watch the full film for resolution.
47 marks section b film
This document contains examiner's comments on a candidate's answers to two questions on a media studies exam.
For question 1, the examiner notes the candidate addressed concepts of gender representation but in a descriptive way. They explored challenges to stereotypes but not fully. The use of examples was limited and the final paragraph's relevance was questionable. Overall it was a sound response but with areas for improvement.
For question 2, the response was brief and used dated examples from Working Title films. There was little address of the set question and limited profile of the requested studio. The candidate seemed underprepared with case study material.
47 marks section b film
This document contains examiner's comments on a candidate's answers to two questions on a media studies exam. For question one, the examiner notes that the candidate addressed concepts of gender representation reasonably well through their analysis of a TV show scene, though parts were descriptive. For question two, the examiner gave a low mark because the candidate provided a very brief response using outdated film examples to discuss the British film industry, failing to adequately address the set question. The total mark awarded was 47 out of 100.
Mean girls narrative structure analysis
The document analyzes several shots from a film to understand the characters and narrative. The first shot introduces four main protagonists and shows them acting normally, establishing an initial equilibrium. Subsequent shots reveal important details about individual characters - one confident female character is likely a "hero" or "villain", while a group seems less assured. Shots of two opposing female characters, one popular and one lonely, use binary opposition to illustrate their roles. Overall, the analysis indicates that a unhappy main character, Lindsay Lohan, will disrupt the equilibrium as the "hero" seeking change.
Textual analysis
The opening sequence of The Possession begins with a close-up shot of an old woman looking extremely worried while holding an antique box engraved with symbols. It is revealed through cross-cutting that the box is the source of her distress. As she tries to destroy the box, she begins chanting in a foreign language and her body contorts, seemingly possessed by a supernatural force within the box. Throughout, a song plays about heaven, contrasting with the evil force of the box. The sequence wastes no time establishing the supernatural themes of possession and evil that will be central to the film's plot.
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Propp's character roles and narrative functions extension task
Propp's character roles and narrative functions extension task
Stock characters in horror films Evaluation Question 1
Stock characters in horror films Evaluation Question 1
More from PatrickColl99
Locations
The document discusses four potential locations for filming a soap opera trailer: The Rising Sun pub, an alley next to the pub, Roseberry Park, and a house kitchen. The Rising Sun pub was initially selected for its resemblance to a EastEnders setting, but filming inside was deemed inappropriate. The alley and park offer low-key lighting options. The house kitchen was chosen for a domestic violence scene and to avoid making a mess while filming a wine glass breaking. Permission must be obtained to film at The Rising Sun pub but not the public park locations. Road safety will be maintained near the pub location.
Poster textual analysis
The document analyzes soap opera promotional posters for the shows EastEnders and Hollyoaks. For EastEnders, the tagline hints at upcoming dramatic events while mentioning the iconic setting of Walford. A lone character image does not reveal too much of the plot. Including social media tags engages audiences. For Hollyoaks, characters appear to be on fire, suggesting danger and heating up plotlines. The tagline emphasizes missing this series means missing future episodes. Both posters successfully use institution logos to establish brand identity and social media to drive interaction.
Propp's character roles and narrative functions
1) The document discusses two soap opera trailers, analyzing them through Propp's character roles and narrative functions.
2) In the EastEnders trailer, the antagonist is the son of Lucy Beale, who is seen threatening and fighting with his mother at the end of the trailer, hinting he may have murdered her.
3) The Hollyoaks trailer depicts a wedding with a dispute over the bride, leading the antagonist to kidnap a baby, presenting a challenge for the protagonists to overcome.
Poster textual analysis
The document analyzes promotional posters for two soap operas: EastEnders and Hollyoaks. For EastEnders, the tagline hints at upcoming dramatic events while mentioning the iconic setting of Walford. A lone character image avoids spoilers while the BBC logo builds brand identity. For Hollyoaks, characters appear to be on fire, suggesting danger and plotlines involving fire. The Channel 4 logo also builds brand identity. Both posters effectively use social media hashtags to generate audience engagement.
Questionnaire
This document contains a questionnaire for a music magazine with questions about the respondent's demographics, preferences for magazine features, promotions that would persuade them to buy a magazine, impact of brand on choice, important topics to include, music genres ranked by appeal, expected price, number of magazines typically bought per month, preferences for front cover content, and favorite magazine brand. The questions cover topics like the respondent's age, magazine cover features that appeal most, promotions that would motivate a purchase, whether brand impacts choice, important topics to include, ranking of music genres by preference, expected price point, typical monthly purchases, and front cover preferences.
Production plan
The document outlines the key steps in the magazine production process:
1) Establish a publication date and work backwards to create a schedule allowing time for each production task and mistakes.
2) Decide on content, budget, and arrange dates to acquire content from featured artists or journalists.
3) Layout the content using desktop publishing software, proofread hardcopies, and send files to the printer for production and distribution by set deadlines.
Primary research evaluation
This document summarizes the results of a survey about music magazines. The survey found that most respondents were between 16-17 years old. It also found that magazine covers featuring popular music stars increased sales. Additionally, offering free concert tickets increased interest in magazines. Most respondents chose magazines based on brand and preferred genres like indie music. The document discusses how the survey results will inform the creation of a new music magazine, such as focusing on new music rather than celebrity affairs, and using prominent images and less text on covers.
Mood Board
Patrick Coll created a mood board for a singer/songwriter magazine. The images in the mood board reflect the simple style of shots and covers that Patrick would like to experiment with for the magazine. The simplicity of the images also reflects the simplicity of the singer/songwriter music genre. Most images use a single theme color with basic colors like white or black to make the magazine stand out, and Patrick plans to use a blue base color with a white to grey gradient background for the magazine.
Magazine flat plan
This document provides a flat plan, or table of contents, for a magazine. It lists the various sections and pages that will be included such as: the contents page, interviews, articles, reviews, advertisements, tour dates, competitions, and more. The main facts provided are that the main story will be on pages 33-34, there will be a total of 54 pages, NME magazines typically have 48 pages, and the page numbers and e-media address will be in the top right corner of each page.
Locations recce
Patrick Coll is preparing a portfolio for his media studies course. He plans to take various photos at his home and school to include in his portfolio. For the front cover, he will take a photo of himself holding a guitar at home on October 24th, using natural lighting. For the contents page, he will take a close-up photo of himself at home for the editor's notes, wearing different clothing. He will also take a photo of himself with his friend Sean at school on October 26th for the contents page. Patrick has requested permission from his mother, the school head, and Sean to take the photos. Potential risks include bad weather, electrical hazards, falling equipment, or interruptions.
Contents page and dps marked
This document analyzes the contents page and double page spread (DPS) of NME Magazine from November 2008 and 2011. It summarizes the key conventions used, including subheadings in boxes to label sections, a band index, a subscription box, colored drop capitals, pull quotes, and filling most of the DPS with an image of a featured artist. The document concludes that incorporating these conventions would help appeal to the target audience of a music magazine and increase readership based on theories of star appeal and genre expectations.
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Propp's character roles and narrative functions extension task
- 1. Soap Opera Genre – Propp’s Character Roles Propp’s Narrative Functions Name: Patrick Coll Candidate Number: 1102 Center Name: St. Andrew’s Catholic School Center Number: 64135 OCR Media Studies – A2 Level Unit G324: Advanced Portfolio
- 2. EastEnders Death of Lucy Beale Trailer • In this trailer the antagonist/villain (Propp’s Character Roles) represented is the son of Lucy Beale who is heavily featured in the trailer following a dark, non-diegetic, direct soundtrack. There is additionally a scene featured towards the end of the trailer which shows the antagonist in conflict with his mother who is presumably representative of the hero in this trailer creating a ‘struggle’ (Propp’s narrative functions) scenario. The character is also seen damaging property at the beginning of the trailer and listening in to conversation, which might act as motivation to become the villain in the series. Ironically, the villain (Propp’s Character Roles) is a child which is generally not the case. This anti stereotypical representation is effective in creating a mystery around the character and the series.
- 3. • The hero/ victim (Propp’s Character Roles) represented in this trailer is Lucy Beale, the antagonist’s mother. The mother is seen calling her husband for help at the end of the trailer portraying her as weak and vulnerable. Lucy Beale is supposedly murdered by her son in this trailer which is hinted as the son raises a hockey stick to the mother’s head. Lucy Beale could however be seen as the villain in this trailer as she is indirectly responsible for her sons motives to kill her. Her attempt to control her son may be a direct influence to cause her son to want to take his control of his life back. This creates a struggle (Propp’s Narrative Functions) at the end of the trailer where we see the villain and hero in conflict.
- 4. • It could be argued that there is two antagonists featured in this trailer one being the man at the beginning of the trailer and the women who locks the ‘hero’s in the hospital. The dark soundtrack utilized at the beginning hints that the man could be the ‘villain’ followed by the non-verbal code ‘Just a few more days and you’ll get what you want’ which acts as a threat towards the ‘heroes’. The female antagonist however locks the ‘heroes’ in a hospital, which is stopping them doing what’s right creating a ‘struggle’ (Propp’s narrative functions) scenario. Hollyoaks Trailer
- 5. • In the sequence, a ‘wedding’ (Propp’s narrative functions) takes place between two characters however there is a dispute between who the bride should marry. This conflict involves a protagonist and antagonist where a baby ends up being kidnapped by the ‘villain’ (Propp’s Character Roles). This could be perceived as a difficult task in light of the fact that they need to retrieve the baby from the villain.