Leeza Ah-wan is producing a trailer for a new soap opera as part of an advanced media studies portfolio. The document outlines the aims, objectives, and research conducted for the project. It includes analyzing conventions of existing soap operas like Eastenders and Coronation Street to understand their codes and appeal to different audiences. Research was also done on the purpose of trailers and promotional techniques. The production log details planning, filming dates and deadlines for the edited trailer, promotional poster, and magazine cover to be created.
This is my production log which shows research i have completed prior to my production. I have analysed a number of soap operas and considered the many codes and conventions of what makes a successful soap opera.
This is my production log which shows research i have completed prior to my production. I have analysed a number of soap operas and considered the many codes and conventions of what makes a successful soap opera.
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Unit G324: Production Log
1. 1
St. Paulâs Catholic College
Center Number: 64770
Candidate Number: 6593
Candidate Name: Leeza Ah-wan
A2 Media Studies
Unit G324: Advanced Portfolio in Media â
Production Log
Evidence of Planning & Research
2. 2
Aims and Objectives
ďˇ AO2 â Assess candidatesâ application of knowledge and
understanding in evaluating their own work, showing
how meanings and responses are created.
ďˇ AO3 â Assess candidatesâ ability to plan and construct
media products using appropriate technical and creative
skills.
ďˇ AO4 â Assess candidatesâ ability to undertake, apply and
present appropriate research.
Brief Chosen
A 45 second â 1 minute 30 second trailer for a NEW Soap Opera
that will be exhibited on at 8:30pm (after Eastenders)
that will appeal to a Male and Female audience.
YOU SHOULD research when Eastenders is scheduled (Day â
Time)
3. 3
Contents
Textual Analysis
ďˇ Eastenders
- Soap Opera Codes & Conventions
- Multi Strand Narrative
ďˇ Coronation Street
â..the home, the family, domestic tribulations and the strong woman, and as
such, it has long been said to appeal to the female viewerâ
âMasculinity and Popular televisionâ â Rebecca Feasey (2007)
- Is this evident and how is this presented to the audience?
Research
ďˇ Purpose of a Trailer
ďˇ Multi-Platform promotion
ďˇ Textual Analysis â Coronation Street and Hollyoaks
Deadlines â Production Work
Filming Dates:
Edited Trailer â Complete:
Promotional Poster â Complete:
Promotional Magazine Cover â Complete:
Evaluationâ Complete:
Production Work
ďˇ Director â Roles & Responsibilities?
ďˇ Producer â Roles & Responsibilities?
ďˇ Institution research â BBC Two
_______________________________________________________________________________________________________
4. 4
SoapOpera Codes & Conventions â Lesson2
1) What are some of the Codes & Conventions of this genre?
YOU MUST demonstrate what youalready know by completing a
âSpider Diagramâ ofwhat you know about OR expect from this genre:
Other codes and conventions of the soap operagenre â
ďˇ Intro and outro (theme tune)
ďˇ Point of call â This is the ending where you see the ident e.g: the BBC point of call
after Eastenders.
ďˇ Soaps like Coronation Street tend to have a âfemaleâ (Hartley) targeted audience. In
particular, middle aged to older women. However, this isnât always the case. The
Hollyoaks logo is an example of âbinary oppositionâ (Levi Strauss) as the
denotation of both male and female signs âsignifiesâ (De Saussure) they cater for
both genders.
ďˇ Themes such as love, conflict and secrets are explored.
Codes and
Conventions of the
Soap Opera Genre
A convention typically ârepeatedâ (Steve Neale)
within the soap opera genre is the incorporation
of a multi stranded narrative. For example in
Eastenders, the Bealeâs may be finding out that
Lucy is dead; Denise might be having an
argument with Stacy in the pub, whilst Lauren
and Peter are on a date. Multi stranded
narratives predominantly feature in soaps to
capture a mass audience as different viewers all
have different characters that they have a
âpersonal relationshipâ (Katz) with.
There are often lots of
examples of non-diegetic
sound in soap opera trailers
in order to create tension.
Diegetic sound is
always present and
ambient sound is often
used e.g: people can be
heard from the pub in
the distance.
Establishing shots are often used. For
example, many episodes of Eastenders
begin with an establishing shot of the
Queen Vic. This technical code is used to
âsignifyâ (De Saussure) to viewers that the
place is of great importance. For example, it
may be where the community comes
together.
Typically there tends to be a
sense of regional identity in
each soap. The residents of
Albert Square in Eastenders
are mostly from East London
and this is reflective in the
way they speak.
Cliffhangers are likely
to feature in virtually
every episode of a
soap. Cliffhangers
create suspense,
forcing âsurvivorsâ
(Maslow) to tune in,
to see if everything
will be okay.
Ident e.g: BBC for
Eastenders. The
denotation of an ident is
important as it
âinformsâ (Katz)
viewers about what
they can expect from the
show. In this case they
can expect Eastenders
to âinform, educate and
entertainâ (John Reith)
as these are BBCâs core
values.
âStrong womenâ
(Rebecca Feasey â 2007)
e.g.: Kat from Eastenders.
5. 5
2) Codes & Conventions of the SoapOpera Genre
The Soap Operagenre can be categorizedby the ârepeatedâ
(Steve Neale ) elements of:
1. The incorporation of an ident
2. Multistranded narrative
3. Theme tune (Intro and Outro)
4. Cliffhangers
5. Focus on workingclass communities
6. Romanceand conflict
7. Family relationships
8. Storylines that focuson issues of the zeitgeist e.g: teenage
pregnancy.
9. Exploration of regional identity.
Eastenders (1985 â Present)
Key informationregarding this text:
ďˇ Eastendersis aired on BBC as their mission valuesare to âinform,
educate and entertainâ (John Reith) and Eastendersdoes all of these
things.
ďˇ Eastendersis available on BBC Iplayer which can be accessed through a
number of platforms e.g.: TV, computer, tablet, mobile.
ďˇ Eastendersis aimed at those with a British âethnicityâ (Hartley) as
peopleof other ethnicities will notunderstand the British humor.
ďˇ This soap is also available on demand.
ďˇ The show airs every weekday on BBC1 ateither 7:30pm or 8:00pm,
except Wednesdaysand is repeated on BBC3 at 10pm.
Textual Analysis Task
https://www.youtube.com/watch?v=QUqmm7RuYn8
6. 6
YOU MUST complete the Table below whilst watching the TWO promotional
trailers for the BBC Soap Opera Eastenders.
YOU SHOULDaim to identify key examples(Verbal, Non-Verbal, Technical)
from each trailer that demonstratesyour understanding.
Extension- YOU COULD apply relevantaudiencetheory to explain what
impact these key examples would haveon the target demographic.
In your opinion, accordingto Hartleyâs Seven Subjectivities, whatis the
target audiencefor Eastenders?
Age Middle aged (30+)
Gender Females but will also appeal to some
men.
Nationality British, as people of other nationalities
will not understand the humor.
Trailer 1) â THE WEEK OF REVELATIONS â EASTENDERS 2015 TRAILER â BBC1
https://www.youtube.com/watch?v=QUqmm7RuYn8
What is the Focus of this trailer?
WHO KILLED LUCY?
________________________________________________________________________________________________________
Code
&
Convention
Evidence
(Verbal, Non-Verbal, Technical)
Impact on the Audience
(Katz, Maslow, Hartley)
Romance
N/A in this trailer Normally romance would appeal
to those that have a âpersonal
relationshipâ (Katz) with a
certain character who is in love.
They will tune into Eastenders for
example if they are fans of Ronnie
and want to see whether her
relationship with Charlie will last
as they want her to be happy.
Family
relationships
and/or conflict
The technical code of a two person
shot of Jane and Ian connotes
tension.
The technical code of a slow zoom
used on Janeâs face denotes her
panic and uneasiness.
According to âMaslowâ this part of
the trailer would appeal to
âsurvivorsâ as they are eager to
know whether the Beale family
will be able to survive the death
of Lucy.
An establishing shot is used This part of the trailer âinforms
7. 7
Focus on
working class
communities
denoting âBealeâs plaiceâ. The
technical code of a zoom used on
the Beale family whilst in their
fish and chip shop denotes that
this is their place of work.
and educatesâ (Katz) viewers
about the typical environment
working class individuals may
find themselves in.
According to Maslow, this part of
the trailer would appeal to âsocial
climbersâ as seeing the Bealeâs
may push them to improve their
own status in society.
âMulti-Stranded
Narrativeâ
The various settings (non verbal
codes) denote a multi stranded
narrative. The Bealeâs are in the
chippy, Denise is in the Vic, Abi is
at the local shop.
A multi stranded narrative would
appeal to viewers who want a
form of âdiversionâ (Katz)
Through the lives of many
characters being explored;
viewers can fully immerse
themselves in the text and escape
reality for a little while.
âDisequilibriumâ
(Todorov)
The verbal code of the non
diegetic incidental music is creepy
and sinister. This âsignifiesâ (De
Saussure) from the outset that the
trailer is focusing on a very dark
storyline, most likely to be death.
The music sounds like a lullaby
but the dystopian setting and low
key lighting used as Max walks
past the Arches acts as an âenigma
clueâ (Roland Barthes) that this is
anything but sweet. The type of
music used is conventional of the
horror genre creating a sinister
vibe. Furthermore, the verbal code
of the ambient sound of the gate
crashing connotes that the
residents should be fearful as
something dreadful is about to be
discovered, as Lucyâs killer is
revealed. The fact that the sound
of the gate crashing completely
captures the thoughts of all the
residents also further connotes
that the death of Lucy is on their
minds, creating anticipation in
viewers as we try to figure out
who the murderer on the square
is.
A âdisequilibriumâ (Todorov)
would cause âsurvivorsâ (Maslow)
to tune into upcoming episodes.
They will be eager to discover
who has killed Lucy and will be
hopeful that there will be justice
for the Beale family.
8. 8
Trailer 2)
What is the Focus of this trailer?
HOLLYOAKS AUTUMN 2014 TRAILER: FEATURING - #HOLLYOAKSENDOFTHELINE
https://www.youtube.com/watch?v=2RRFQoEmP48
This Hollyoaks autumn 2014 trailer denotes that this soap features a multi stranded
narrative. Many storylines are briefly touched upon such as John going to prison, Johnâs
proposal to Steven, Dodger becoming a father and the wedding crash. Although many
storylines feature, the wedding crash is foreground through the non verbal code of the
bride and groom dolls lying on the train track amongst the rubble with the text âHollyoaks
Autumn 2014â above.
Code
&
Convention
Evidence
(Verbal, Non-Verbal,
Technical)
Impact on the Audience
(Katz, Maslow, Hartley)
Romance
The verbal code âSteven
Hay will you marry meâ
denotes that these two
men are in a
relationship and madly
in love. This storyline
provides a âwindow
into the worldâ (Wendy
Helsby) as gay marriage
is becoming more
common and so the
storyline reflects the
current zeitgeist. The
technical code of a close
up shot used as John
and Steven hold hands
also denotes that
romance is a key theme
explored in this soap.
According to Katz the romantic scenes
between John and Steven would appeal to
those that can perhaps âpersonally identifyâ
(Katz) with being gay. They may enjoy
watching these scenes, as a storyline like
this is a step forward to homosexuality
becoming more accepted within society.
This storyline would also appeal to
âexplorersâ (Maslow) who are driven by
social change, in particular those that
believe in the acceptance of homosexuality.
Family
relationships
and/or conflict
The verbal code âHe
loves us and weâre
going to start a new life
togetherâ said by
Carmel denotes the
strong sense of hope
she has to finally have
the family sheâs always
wanted. The technical
code of a two person
shot is used connoting
that the child is of great
importance to her and
Carmel loves her. The
This particular storyline is likely to appeal
to mothers and therefore âfemalesâ
(Hartley). Those familiar with Carmelâs
character will know that she is not the
childâs mother but is prepared to do
anything to get the family sheâs always
wanted. Mothers will want to tune in to
make sure that the child is safe and no harm
succumbs to her due to their natural
protective nature.
9. 9
teddy bear the child is
holding which is an
example of a non verbal
code is symbolic of her
youth and
consequently, lack of
understanding of
whatâs happening.
The diegetic verbal
code âIâm having your
babyâ is said to Dodger.
The zoom and close up
used denotes his
shocked facial
expression (non verbal
code). The shocked
facial expression of
Dodger âsignifiesâ (De
Saussure) that he does
not want this baby and
his world is about to get
very complicated as
heâs in a relationship
with another woman.
The conflict that is evidently about to arise
in Dodgerâs life as he is in a relationship with
one woman, but fathering the child of
another will appeal to âsurvivorsâ (Maslow).
They will tune in as they will want the
security of knowing that Dodger is happy,
but so are the baby and mother.
In particular those that have a âpersonal
relationshipâ (Katz) with Dodger will tune in
to see the turn his life is now about to take.
Itâs likely many âfemalesâ (Hartley) in
particular will have a âpersonal
relationshipâ (Katz) with this male as he
provides a âfemale gazeâ (Diana Saco) due to
his looks.
Focus on
working class
communities
The technical code of a
wide shot is used to
denote the police
officers and their
vehicles waiting outside
the hospital.
The representation of working class
communities would appeal to âsocial
climbersâ (Maslow) as through seeing the
power, authority and importance of the
police officers they may want to boost their
own position in society. E.g.: if they are
unemployed or currently have no prospects.
âMulti-Stranded
Narrativeâ
The different settings
(non verbal codes)
denote many storylines
such as the wedding
crash, the court case
and the birth of the
baby.
A multi stranded narrative is important in
capturing a mass audience. Different
viewers will be able to âpersonally identifyâ
(Katz) with different situations and
characters. So, multiple storylines are
imperative to keep a broad range of viewers
interested.
âDisequilibriumâ
(Todorov)
The diegetic verbal
code âYou need to go in
there and tell the truthâ
denotes that John may
go to prison and both
his and Stevenâs life
may be turned upside
down. Regular viewers
of Hollyoaks will be
aware that these two
men are madly in love,
creating a sense of
worry as we donât know
if Steven will be able to
The storyline about John going to prison
would appeal to those who have a âpersonal
relationshipâ (Katz) with the character as
they wait to see his fate and what his future
holds.
10. 10
cope without John.
The verbal code of the
sound made by the
train crash and the
beeping of the life
support machine
âsignifiesâ (De
Saussure) that the
âdisequilibriumâ
(Todorov)will happen
during the wedding and
horror is about to
strike.
The crash storyline would appeal to those
who want a form of âdiversionâ (Katz).
Through watching the explosive scenes in
the wedding episode, they can escape reality
and truly immerse themselves in
unmissable drama. A storyline like this is
typical in a soap opera and is often
ârepeatedâ (Neale) by various soap operas.
Soaps often exaggerate normality and day to
day tasks, simply to present viewers with
conflict and drama. Itâs very rare that a
wedding in any soap normally goes to plan, a
disequilibriumâ (Todorov) is almost always
presented.
Multi-strandednarrative
A Multi-stranded narrative can be defined asâŚ..
The narrative does not focus solely on one character or one storyline. Instead,
viewers are provided with multiple storylines involving a range of different
characters. In other words, several narratives are running at the same time.
YOU MUST deconstruct the 10-minute extract from Eastenders and identify where
the following elements are presented to the audience:
ďˇ Multi-stranded narrative
ďˇ Family relationships and/or conflict
ďˇ Focus on working class communities
ďˇ âDisequilibriumâ (Todorov)
ďˇ Romance
YOU SHOULD write down x1-2 examples for EACH of the elements above that are
presented.
Code & Convention Evidence Impact on the audience
Multi-stranded narrative
Cuts are used between
scenes as multiple
storylines are revealed.
For example, Shabnam
and Kush are talking
about Kushâs birthday.
Whilst in another scene,
Patrick and Buster are
talking about a troubled
Dean.
A multi-stranded
narrative ensures that the
needs of all viewers are
catered for. Kushâs
birthday storyline is
entertaining, whilst Janeâs
storyline âinformsâ (Katz)
viewers on the difficulties
of raising a teenager.
11. 11
Also, Jane is having issues
trying to communicate
with Cindy which is
denoted by her
unimpressed and fed up
facial expression. Whilst,
Buster and Masood talk
about Shirley wanting
custody over her sons
(Deanâs) baby.
Family relationships
and/or conflict
The diegetic verbal code
âcanât you even begin to
care!â is said by Shirley to
her boyfriend Buster as
they argue over what to
do with their sonâs child.
Through the non verbal
code of Shirleyâs stressed
facial expression viewers
can see the feisty female
believes sheâs the only one
trying to save their family.
The diegetic verbal code âI
appreciate your offer but
Iâm fine as I amâ said by
Cindy to Jane denotes that
she doesnât want to meet
with her stepdad Ian as
sheâs angry with him.
The diegetic verbal code
âIt certainly donât mean I
want to spend my
birthday with himâ is said
by Patrick to Kim. Patrick
says this about Kimâs new
boyfriend, as they discuss
going out for a family
dinner for Patrickâs
birthday. This firm
declaration by the male
denotes that he does not
approve of Kimâs lover
and evidently Vincentâs
arrival on the square is
âCaregiversâ (Malsow) are
likely to sympathies for
Shirley who is torn
between doing right by
her son and helping her
grandchild.
Cindyâs attitude and
ungratefulness provides a
âwindow into the worldâ
(Wendy Helsby) of how
some teenagers behave.
Some mothers or carers
may be able to âpersonally
identifyâ (Katz) with
Janeâs frustration as kids
tend to not understand
the difficulty of parenting
and take things for
granted.
Patrickâs reluctance to
invite Vincent provides an
âenigma clueâ (Roland
Barthes) that at any
moment, an argument can
break out in the Truman
household, thus creating
tension, exciting viewers
who want to be
entertained.
12. 12
creating rifts and tension.
Focus on working class
communities
The diegetic verbal code
âIâve got to go back to the
pub in an hour for a shiftâ
is said by Nancy to
Tamwar as this is where
she works for a living.
Shot reverse shots are
used in the cafĂŠ as Cindy
and Carol work. The
diegetic verbal code âI
canât afford to goâ said by
Cindy, âinformsâ (Katz)
viewers that the working
class often have problems
with money being tight.
The representation of
working class
communities will appeal
to working âclassâ
(Hartley) viewers. They
will be able to âpersonally
identifyâ (Katz) with the
demands of day to day
work and understand
financial struggles if they
themselves donât have
sufficient wages.
Disequilibriumâ (Todorov)
A âdisequilibriumâ
(Todorov) is denoted
through the diegetic
verbal code: âWhat about
the father? Dean aint quite
aboardâ. Clearly, Dean is
not keen on stepping up to
his responsibilities as a
father.
Martin wants to throw a
birthday party for Kush
but Kush isnât up for it
because he doesnât want
to upset Shabnam. The
close up shots of Kush
denote his troubled facial
expression as heâs torn
between his own
happiness and keeping his
girlfriend happy.
Viewers will be aware that
Deanâs character has a bad
temper and he is a man
who does not take being
messed with lightly. Thus,
creating excitement as an
argument is clearly going
to break out between
Shirley and Dean as sheâs
going behind his back.
Those that have a
âpersonal relationshipâ
(Katz) with Kush will want
him to put himself first for
once as heâs always trying
his best to please
Shabnam, at the cost of
sacrificing his own needs.
Romance
The two shot used in the
opening scene denotes
Kush intimately holding
his girlfriend Shabnam.
The diegetic verbal code âI
want to show you offâ is
said by Martin to Stacey
denoting he is smitten and
adores her.
The romantic scenes are
stereotypically likely to
have a strong impact on
âfemaleâ (Hartley)
viewers who fantasies
about romance and a
loving boyfriend.
13. 13
SoapOpera Codes & Conventions continued â Lesson3
Textual Analysis
According to Rebecca Feasey in âMasculinity and Popular televisionâ (2007), the Soap
Opera genre tends to focus on:
ââŚthe home, the family, domestic tribulations and the strong woman, and as such, it
has long been said to appeal to the female viewerâ
1) - Do you agree?
All popular soap operas have storylines that focus on issues surrounding the home,
the family and domestic tribulations. This is because although soaps present
viewers with an exaggerated representation of everyday life, they do provide a
âwindow into the worldâ (Wendy Helsby) of everyday situations, which as viewers
we can âpersonally identifyâ (Katz) with. Some teenage viewers will be able to relate
to storylines like underage pregnancy, whilst adults are likely to relate to the family
conflict. There are many examples of âstrong womenâ within the soap opera genre.
For example, Janine, Denise and Peggy from Eastenders are all examples of alpha
females. There are many occasions where the presence of a âstrong womanâ
(Rebecca Feasey) in a soap challenges John Bergerâs theory of âmen act, woman
appearâ. For example, there have been many examples in Eastenders where Janine
has âemasculatedâ men and used them for money.
Stereotypically, we associate a âfemaleâ (Hartley) dominated viewership when it
comes to soap operas. Itâs possible that many âfemalesâ enjoy watching soap operas
because of the presence of a âstrong womanâ. The presence of an alpha female is
encouraging to female âsocial climbersâ (Maslow) who want a more dominant
position within society.
As a regular viewer of soap operas I personally believe that there is truth in
Feaseyâs theory. A prime example that I recall is when Tanya Branning from
Eastenders took on the role of a âstrong womanâ. Tanya discovered that her
husband Max cheated on her with the female character Stacey Branning. Tanya,
feeling completely betrayed and vengeful buried Max alive and left him for dead.
Other examples also include, Stacey killing Archie by hitting him over the head with
the Queen Vic statue and Peggyâs trademark line: âGet out of my pub!â
http://www.youtube.com/watch?v=F8_ApPT6isY (First 5 minutes)
14. 14
Next Page - YOU MUST deconstruct the opening 5 minutes of a sequence from the
popular ITV Soap Opera Coronation Street (1960 â Present) to identify examples of
where this ideology is presented to the target audience.
YOU SHOULD also try and identify, to demonstrate your knowledge and
understanding of the genre, any Codes & Conventions associated to the Soap Opera
genre.
Code & Convention Evidence
Rebecca Feasey (2007) Ideology:
1. The diegetic verbal code âThank you for what you did for AmyâŚYou saved her life
Leanneâ denotes that Leanne conforms to Feaseyâs ideology of a âstrong womanâ as
she saved Amy from the fire. Stereotypically, males are presented as the hero, but in
this case Leanne took on the role of an alpha female and acted as the heroine.
2. Many of the scenes are set within the residentâs homes or involve families (mise-
en-scene). The street is a stereotypical example of a community, supporting
Feaseyâs ideology of the focus on âthe homeâ.
3. Cross cuts are used between each scene to denote the various female characters
standing up to men. The sequence features a domestic argument between the two
âstrong womenâ regarding the burning down of the house. As Roy tries to interfere,
the diegetic verbal code âstay out of this Roy!â said by Leanne presents him as weak
and dismissive, which is the âbinary oppositeâ (Levi Strauss) to the strong and bold
character of Leanne. As Leanne successfully emasculates Roy, her role as a âstrong
womanâ is further emphasized.
4. The two women in the bar emasculate the two men, by putting them in their
place. The woman behind the bar answers Norris back by saying âwe donât know
thatâ as he blames Carla for starting the fire without any proof. The non-verbal code
of Norrisâ embarrassed facial expression denotes him as weak in contrast to the
âstrong womanâ serving him. As he doesnât respond to her comeback, itâs clear he is
scared of her. However, even before Norris is told off for interfering he is easily
emasculated due to his high pitched voice. Clearly, the casting of his character was
done with a lot of thought as they needed a male who could offer entertainment
through his feminine traits. The other man emasculated in this scene is Roy. Roy
orders a pink drink, stereotypically we associate the colour pink with the female
gender. Thus he is âsignifiedâ (De Saussure) to be the âbinary oppositeâ (Levi
Strauss) of any sort of dominant alpha male and in fact quite feminine. He is further
denoted as timid as Carla dictates his actions through the diegetic verbal code âLetâs
go now...â and he obeys.
5. Jenny is at home with the baby conforming to Feaseyâs ideology on the focus of
the âhomeâ. A scene like this would definitely appeal to a âfemaleâ (Hartley) viewer
because of the stereotypical nurturing and motherly nature we assume most
females have.
6.) The females in this sequence are presented as âstrong womenâ as they are
responsible for breaking all the news. The diegetic verbal code âDidnât you hear?â is
said by Tracy to Leanne as she enlightens her about the fire.
15. 15
7.) The verbal code âZeanne...not hear, not todayâ is said as the Indian girl pulls
away the boyâs arm. This scene denotes a clear focus on âfamilyâ as they are
struggling with the loss of a loved one. However, she is also presented as a âstrong
womanâ who dictates the actions of the boy. There are many examples of âstrong
womenâ in this sequence who come from a variety of different backgrounds and
races. This is important for Coronation Street to appeal to a broad range of female
viewers. Ultimately, it means that the role of a âstrong womanâ can appeal to all
female viewers, regardless of their âethnicityâ (Hartley).
âMulti-Stranded Narrativeâ Roy and Norris at the pub with the female residents.
Jenny at home.
Bethany having a go at David at home.
Leanne getting angry in the street.
ďˇ Family
relationships
and/or conflict
It is denoted that Bethany is annoyed with David for
not having completed his chores.
Coronation Street Episode 2 â https://www.youtube.com/watch?v=sekLqwvN2w4
Code & Convention Evidence Impact on Audience
ďˇ Focus on working
class communities
âIf you need any more
help just let me knowâ Roy
to the customers in his
cafĂŠ.
Sarah: âWhere did you get
that fromâ
Bethany: âI bought itâ
Sarah: âYeah⌠With what
moneyâ
Roy seems to be happy
doing his job and regular
viewers of the soap will be
aware he has been
working in the cafĂŠ for a
long time. Itâs pleasurable
and comforting for
viewers to get the sense
that he is happy with his
life and his job is not a
nuisance.
Bethany is a student and
by the sound of Sarahâs
response, it sounds as if
she doesnât have a lot of
money. Sarahâs curiosity
leads us to suspect that
the bracelet may have
been stolen, creating
suspicion in viewers.
Disequilibriumâ (Todorov)
The diegetic verbal code:
âIf she turns up to that
courtroom on the arm of
Callum I shall drag her out
of there by the scruff of
her neckâ â Gail says this
to her mother as sheâs
angry that Bethany has
not arrived yet to support
her brother. This denotes
This diegetic verbal code
said by Gail is said right at
the beginning of the
episode. Starting the
episode with drama from
the outset will entice the
audience, as they know
more drama is to come.
16. 16
a âdisequilibriumâ
(Todrov) as there seems
to be a lack of family
support for the court case.
ďˇ Romance The two person shot of
Leanne and her lover in
Royâs CafĂŠ denotes Leanne
gazing romantically into
her mans eyes, followed
by her stroking his face
lovingly. He kisses her on
the head returning this
affection.
The close relationship
between the two lovers
and their intimate
gestures will
stereotypically appeal to
âfemaleâ (Hartley)
viewers who are romantic.
ďˇ Other Themes &
Issues represented:
âMax if you canât find your
grey socks just put the
black ones on!â
Underage pregnancy â
âWe need it to register the
babyâ
This diegetic verbal code
said by David represents
the difficulties of
guardianship and looking
after a child. Viewers who
are parents themselves
will be able to âpersonally
identifyâ (Katz) with the
stress associated with
looking after a child.
This diegetic verbal code
is said to Faye by her
father about her newborn
baby. The two person shot
of Faye and her father
connotes her innocence
and youth. She is very
small compared to her
father and so the fact she
has had a baby is very
surprising as she is still so
young. This storyline is a
prime example of issues
within the current
zeitgeist and so teenage
mums may be able to form
a âpersonal relationship`â
(Katz) with Faye as they
can âidentifyâ (Katz) with
her situation.
SoapOpera Codes & Conventions continued â Lesson4
Textual Analysis
1) What is the purpose of a soap opera trailer?
17. 17
The purpose of a soap opera trailer is to advertise the programme, often
through creating speculation about a particular storyline. Through watching
a trailer, viewers should be âinformedâ (Katz) about the upcoming storylines
of a soap and should successfully be persuaded into tuning in. There should
definitely be some sort of excitement, buzz or anticipation created to get
people talking about whatâs to come which will increase the popularity of the
soap through word of mouth. Ultimately, leading to greater viewing figures.
Typically trailers for a soap opera air on the relevant channel. For example,
an Eastenders trailer would air on BBC and a Coronation Street trailer would
air on ITV. This is because with viewing figures being so important, the
business is extremely competitive. ITV would not air an Eastenders trailer
because this could result in a reduction in Coronation Street viewers, and so
they would lose money. However, with technological convergence increasing
soap opera trailers can be viewed anywhere, not just on TV. Many soap opera
trailers are available on Youtube which can be accessed on tablets, mobile
phones and laptops. Itâs undeniable, that convergence plays a massive role in
the popularity and success of soap when it comes to modern day technology,
especially when considering multi-platform promotion. Videos on Youtube
can be shared onto other sites such as Facebook and Twitter or emailed to
friends by a simple click of a button. Therefore, itâs very easy for a soap opera
trailer to gain a high number of views prior to the anticipated episode.
Many trailers use a multi stranded open narrative structure. This is
especially typical of Coronation Street and Hollyoaks trailers. Using an open
narrative structure is effective because viewers are unaware of the outcome
of the events witnessed and so the only way to learn the truth is to tune in.
Therefore, trailers tend to be most persuasive to âsurvivorsâ (Maslow).
However, itâs also usual for soap opera trailers to be single stranded. For
example, an Eastenders trailer was produced where Kat and Alfieâs dramatic
reunion was the focus. If one storyline is the core focus like in this trailer, this
connotes that itâs of significant importance and unmissable.
Furthermore, exhibiting a trailer is also useful so that audience feedback can
be gained and any relevant changes can be done before the episode airs. For
example, multiple trailers were released whilst the âwho killed Lucy Beale?â
storyline in Eastenders unfolded. Social media sites such as Twitter and
Facebook were completely filled with comments made by viewers about who
they thought the killer was. As it took over a year for Lucyâs killer to be
revealed, itâs likely that changes were made as to who the killer was over
time, based on feedback received.
2) What are the benefits of Multi-Platform promotion of a media text?
- Fans/viewers are able to catch up on missed episodes through services
such as Iplayer. (They can also do this at their own convenience)
- Itâs possible for a wider audience to be reached.
- With more ways for the media text to be viewed, itâs more accessible.
Ultimately, some form of Convergence is important when promoting a text to the
target audience.
18. 18
3) Textual Analysis â
Next Page - YOU MUST make notes on the following areas when deconstructing this
sequence from Coronation Street:
ďˇ Multi-stranded narrative
ďˇ Character dilemmas
ďˇ âPersonal Identificationâ (Katz)
https://www.youtube.com/watch?v=C_AU3BXAlhI
âItâs not everyday that your firstborn leaves home is itâ â Mothers watching the soap
will be able to âpersonally identifyâ (Katz) with Sallyâs heartbreak, as her daughter
Rosie is about to move out.
âI was up five times the other night with himâ â Katy to Chesney. She is struggling
with the difficulties of parenting. Her tired facial expression denotes her lack of
sleep as a result of her responsibility as a mother. Katy says the diegetic verbal code
âYou slept like a log last nightâ to Chesney denoting that she feels he doesnât take
much of the responsibility despite being the father. Other mums may be able to
âpersonally identifyâ (Katz) and feel the same about their husband or boyfriend.
Character dilemmas: âI aint got no jobâ â Jason is tired of his life. His girlfriend is
leaving him and he is unemployed. Unemployment is a major issue in the zeitgeist
and so this storyline provides a âwindow into the worldâ (Wendy Helsby) of the
unstable financial security some people have.
Character dilemmas: âIt looks like you!â Simon calls Carla a monster. Peterâs
character is facing a dilemma, as his son doesnât seem to like the women he loves
and this is affecting their relationship.
A multi-stranded narrative is used. Roy is having a disagreement with another
character whilst at work, Gail isnât impressed with the planned surprise party being
done for Stella and Katy is having a nightmare at home trying to look after the baby.
http://www.channel4.com/programmes/hollyoaks/4od
19. 19
The above link will take you to some of the latest episodes of Hollyoaks.
1. What are the connotations of the ident for the popular Channel Four Teen
Soap Opera Hollyoaks (1995 â Present)?
The ident for Hollyoaks denotes both a male and female symbol, which is an
example of âbinary oppositionâ (Levi Strauss). This connotes that the soap have a
target audience of both young âmaleâ (Hartley) and âfemaleâ (Hartley) consumers.
To be specific, the soap has a main target audience of around 16-30 year olds. Since
the soap first broadcasted in 1995, its main focus has been the lives of students and
aspects of teenage life. Key focuses include romance, sex, underage pregnancy and
homosexuality. Although, all these themes are still explored in the soap, as the
characters have become older, other themes such as marriage have emerged.
However, the soaps target audience has not changed and is still predominantly
teenagers.
The connotations of the ident also âsignifyâ (De Saussure) that there will be both
âmaleâ and âfemaleâ drama in the soap and so will be relevant to all young people, in
one way or another. It could be a storyline like having issues with sexuality, or the
drama of family life for example. Hollyoaks is quite unique in the sense that the
majority of its cast members are aged between 16 and 35. Other popular soaps such
as Coronation Street and Eastenders have a much broader age range when it comes
to the cast. Although having a broad target audience is important to increase the
chance of high viewing figures, it can be argued that one of the reasons Hollyoaks
has become such a successful soap opera is because itâs target audience is so specific
and therefore the needs of viewers can be precisely catered for.
Next Page - Hollyoaks â âWhite Wedding Trailerâ -
http://www.youtube.com/watch?v=Bu2sW-r9Vb4
2. YOU MUST make notes on the following areas when deconstructing this
sequence from Hollyoaks:
ďˇ Binary opposition of the non-diegetic music
ďˇ Symbolism of the non-verbal code of the tear
ďˇ Representation of Pregnancy
ďˇ Any other examples that would impact the audience
The non diegetic incidental music is not a typical, church song you would expect to
hear at a wedding. Instead, itâs heavy, dark and haunting. It sounds as if has been
taken from a horror film because of the sinister voice of the singer. The lyric âItâs a
nice day for a white weddingâ is certainly used in âbinary oppositionâ (Levi Strauss)
to the dystopian setting, low key lighting and black outfits of the bride and groom.
Itâs clearly anything but a âwhite weddingâ. This can be considered in a literal sense
due to the colour black heavily featuring in the trailer. However, the connotations of
the lyric are also important. The colour white has connotations of purity and also
something that is clean. In contrast, the connotations of the colour black include
darkness and the idea of decay or something being âstainedâ. Even if viewers arenât
familiar with the storyline or do not watch Hollyoaks they are provided with
âenigma cluesâ (Roland Barthes) that this wedding is going to go terribly wrong. Itâs
going to be the âbinary oppositeâ (Levi Strauss) to anything white as truth and
betrayal are revealed. For the guests, their memories will be âstainedâ and marked
20. 20
with the destructive day that is to come. The close up shot of the black tear falling
from Mercedes eye âsignifiesâ (De Saussure) that it is her who has done something
wrong and this truth is about to unfold. Thus, there is no sense of purity that we
would expect from a bride, which represents her as a dangerous and reckless
female.
Mercedes is pregnant and getting married so she really should be happy. However,
her serious facial expression, and the emotionality she expresses towards the end
connotes that she knows her actions are catching up with her and this wedding is
ultimately doomed. The non diegetic incidental music slows down as the bride
walks past one of the male guests who waves at her. He smiles although his happy
expression quickly falls. Thus, it is âsignifiedâ (De Saussure) that he may know of
the destructive truth and he could be the character that reveals this in the wedding
episode.
A destructive wedding is further connoted through the shattering of the doll.
Although, the shattering of the childâs toy also connotes how Mercedesâ family is
about to fall apart. Clearly, the wedding is going to go wrong so now any chance of
bringing the baby into a happy world will no longer be possible. Although, it is
unusual that the bride is getting married whilst she is pregnant. This is effective in
raising speculation in viewers of the trailer who are not familiar with the soap. We
start to imagine possibilities such as: âis it secrets about the baby that will cause the
wedding to fall apart?â Whether or not thereâs a secret about the baby, it is denoted
that the theme of secrets will definitely be explored in the wedding episode. The
verbal code âto love, honor and betray âsaid by the non diegetic voice over denotes
some form of deceit.
Lastly, the close up shot of the black flower on the groomâs suit is also of great
significance, as well as the black petals being thrown by the two bridesmaids.
Flowers have connotations of romance and love. However, the black colour of the
flower on the groom and the petals connote that any sense of romance and love will
be destroyed.
Production Work
1) What is the role of a Producer?
The producer overseas all aspects of the production across the three stages: pre-
production, production and post â production. They manage everyone and ensure
everything is in place in order for the text to look fit for purpose. They are
responsible for making the scenes and orders for creating the media text. They
manage issues such as arranging exhibition/distribution and the hiring of key
individuals.
2) What is the role of a Director?
They oversee the creative aspects of the production and direct people in front and
behind the camera. They are responsible for giving the media text creative
direction as well as directing both the cast and technical crew in light of their vision.
A director will have an ideal visualization of what they want the text to be like once
completed. Their job is to assure that the crew and cast work together effectively in
order to make this a reality.
21. 21
3) Institution research â
YOU MUST research the institution that your trailer will be exhibited on.
Tips: Programming, Target audience, Audience figures, History of the channel.
ďˇ BBC 2 is a broad-based mainstream channel that naturally targets
an older audience.
ďˇ Their key focus is to appeal to viewers aged 35-54 and to reach out
to a more culturally diverse audience.
ďˇ BBC 2 embraces all genres but factual programming is their
fundamental purpose.
ďˇ Viewers can find the finest Arts, History, Science, human interest
documentaries as well as leisure programmers.
ďˇ They aim for their output to be intelligent, rich in content yet
accessible and entertaining.
ďˇ BBC 2 is the original home of many classic comedies, including:
âThe Catherine Tate Showâ and entertainment panel shows such as
âHave I Got News For Youâ.
ďˇ They also air other favorites such as âTop Gearâ, âDragons Denâ and
âThe Great British Bake Offâ.
ďˇ BBC 2 exhibits programs that âinform, educate and entertainâ (John
Reith).
ďˇ BBC 2 launched on the 20th April 1964.