Independent textual analysis

1. Soap Opera Genre –
Independent Textual
Analysis
Name: Yunus
Candidate Number: 6570
Center Name: St. Paul’s Catholic College
Center Number: 64770
OCR Media Studies – A2 Level
Unit G324: Advanced Portfolio

2. Trailer 1 – Kat and Alfie Trailer-Eastenders-BBC One
Verbal Codes - To begin with, the trailer starts of with an intense western soundtrack, followed by Kat walking towards the square, she
illustrates clear authority as she slowly walks back into her element (The Square). Both the character and soundtrack are parallel and
foreshadows that Kat is about to bring trouble within the square. Likewise, the sudden stop of laughter from Janine connotes that she’s had
conflict between herself and Kat, and its as if Kat has brought in negative energy back into the square as Kat and Janine lock eyes. The
strong bond between both Kat and Alfie is clearly illustrated by the use of dialogue, for example “ where can I get a drink from here” and
he replies “I think you’re gonna need one”, this clearly signifies (Saussure's theory) the closeness they have with each other, as well as the
romance and conflict they share with one another. Furthermore, the pitch of the western soundtrack increases when Alfie replies to Kat, as
they both share a strong bond with each other. The voice over narrative is essential as it is used to inform the audience on the trailer, “all
kicking off in the square” this leaves the trailer in a cliff hanger and therefore keeps the audience entertained.

3. Non-Verbal Codes- setting, Lighting, Costumes, Facial Expressions and characters
The first scene of the pub(Queen Vick) plays a significant part, as the building is a central part of Eastenders; likewise a pub is a major part of the
English culture as it reflects a certain period of time (Wendy Helsby Theory). Extreme close up of both Kat and Alfie illustrates the desire as well
as hatred they have for each other. The newspaper drifting across, insinuates trouble is about to occur as this is a common theme within
Western films. The road sign hanging off the building signifies (Saussure’s theory) sense of destruction is about to occur, and Kat is the catalyst
for the destruction of The Square. The long shot of the pub demonstrates the damage of the square as a whole, as well as how the community
are slowly suffering. The facial expression of Janine changes once she sees Kat, this accentuates the bad history both characters had. Kat’s black
blanket implies that she’s ready for war, moreover the color black connotes authority and strength that Alfie has, and therefore makes him a
worthy opponent for Kat to face. However, Jane closing the blind and revealing a veil as well as blunt facial expression emphasizes that the
return of Kat foretells that trouble is about to return to The Square sooner rather than later. The use of SFX is clearly demonstrated when Kat
hits her boots into the ground, in which foreshadows that she means business and that she has unfinished business to take care of. The
different characters such as Patrick and Max suddenly stopping their activities to pay attention on Kat, further connotes the negative energy
she’s about to bring into the square. The last eye bird scene of the two character at a far distance from each other reveals to the audience the
intense episodes that are about to be unveiled. Kat looking at herself with the mirror denotes that she wants to make sure she looks good when
returning to the square, likewise the mirror symbolises that a familiar face is about to return to The Square and she’s clearly looking for war; this
is represented through her clothing. Mise en scene is significant as the cowboy/cowgirl clothing demonstrates the conflict between both Kat
and Alfie. The cigar indicates the masculine strength that Alfie has, and the status he has within the block, whereas the skirt and small amount
of clothing Kat had highlights the power Kat has on Alfie, and this is the “Male Gaze” (Laura Mulvey).

4. Technical Codes -
To start with, the establishing shot of the Queen Vic demonstrates that something dramatic is about to occur within the square; likewise the
shot demonstrates how everything that happens within The Square links with the Queen Vic, as it is the building that holds a huge part of
Eastenders. The Queen Vic was owned by both Alfie and Kat, this means that it was essential to put both characters against each other. The
tension between the two character is very obvious and something very serious has happened thus why there is such a demoralizing
atmosphere. The extreme close up of both characters illustrates how they still have passionate love for one another however there is still
problems that must be solved. One other camera shot is the tracking shot as it is used to follow Kat walking into the Centre of the square.
The scenes cut every few seconds, and goes from one character to another. For instance, it starts off with Kat walking into The Square, and
then cutting to scenes with Max, Janine, Patrick as well as other characters illustrating their views of Kat through their facial expressions or
body language. This initially allows the audience to be conscious of who clearly loathes Kat and who doesn’t want her to be part of the
community. The upward tracking of Kat illustrates her feminine dominance as well as her strong posture, moreover it builds more tension as
the audience are witnessing the return of Kat, and they’re aware of the trouble she’s caused and has been through in the past; so showing
the tracking shot gives the audience a moment of excitement as they haven’t seen her in a long time. Additionally the cowboy shot is a very
powerful scene, as the mirror symbolises a gun and as she looks at herself, it connotes that beauty has a huge impact on the community. A
long shot of Alfie is shown once Kat turns around, and then immediately it cuts and becomes a close up of Alfie, this is extremely influential
as it instantly catches the attention of the audience as they look at the contrast of genders (Hartley’s seven subjectivities), and how the
camera shots differentiates due to the different characteristics both Alfie and Kat have. As a whole, the camera shots portray Kat as being a
character who is: strong, tough and passionate. Whereas the other characters are portrayed as being inferior to both Alfie and Kat.

5. Trailer 2 – Skins series 1
Verbal Codes –
The trailer begins with straight cuts of scenes illustrating different characters. The use of straight cuts keeps the audience
engaged as they witness different scenes. For instance, Tony kissing Michelle as well as scenes with Anwar and Sid. This gives
the audience an overview of the chaos that is about to occur. Then, the scene begins with Tony talking on the phone whilst
there is a fast, pacey non-diegetic track in the background that symbolizes the business of a teens life. Tony clearly
demonstrates his dominance and social class (Maslow’s Hierachy of needs), for example when Tony says to Sid “ tonight we are
going to a party…you will finally pop the cherry”; this signifies (De-saussere) the control and higher social class Tony has when
compared with Sid. When Anwar answers his phone during prayer, it connotes how teens in the 21st century has marginalised
religion from society, and it is an aspect that audiences are able to understand. Furthermore, the conversation between the
blonde school girl and Tony illustrates the energetic, crazy as well as intense lives they have, Tony saying “sounds great” only
emphasises the point that partying and having fun is a desirable aspect for every teenager. Alternativley there is a contrast
between both a teenager and an adult; this is demonstrated when the father shouts at Tony for the loud music in his bedroom.
This initially means that adults prefer a more calm and bliss atmosphere, whereas teens prefer a more tumultuous vibe.

6. Non-Verbal Codes –
Mise en scene is significant as Jal uses her ability to use instruments to express herself and to feel accepted within her family. Likewise,
the clothes used are stereotypically worn by teens (such as the t-shirts with patterns or short skirts), this is parallel with their chaotic
lives that they encounter every single day. Moreover, the shirt and trousers that Sid wears represents the younger audience and is
something that the audience can relate to (Katz theory), whereas the clothes that Tony wears is more formal and therefore it reflects his
intellectual ability. Additionally, the facial expressions of characters fluctuate over time. For example, Tony having a conversation with
Jal, as this clearly indicates the contrast of their facial expressions. Setting is a major aspect of this trailer as it constantly cuts and
changes the scenario as well as characters. This is emphasised clearly when Tony was having a flashback of what has happened in a very
turbulent life he is involved in. When Tony converses with different characters with his phone, as well as being near a busy motorway; it
represents the chaotic nature of teenagers and how their lives are all over the place. The scene where Anwar is answering his phone
during prayer, implies that he is a rebellious teenager who doesn’t take religion seriously. The scene that reveals Tony, Sid and Michelle
sitting around the table denotes that they are planning to take part in bad behaviour such as Drugs. Another influential scene was when
Sid looked under his sheets and grinned. This represents teens within society today, as it is deemed as unusual when a teen at a certain
age has not lost their virginity, this is an aspect the audience can ‘relate’ to (Katz theory).

7. Technical Codes –
The scene showing Chris loosing his mum and having hardship (Rebecca Feasey) gives the audience a chance to relate,
likewise the reverse track denotes Chris literally running away from his troubles. Moreover, the calm soothing music is
synchronized with his relationship with the teacher, however his friends looking at him implies that it will all end
horrifically. The close up of both her and her father illustrates the difficulty they’ve been through and how they must
move on, foreshadowing that there is a better future for all of them. The mid shot of both Cassy as well as Sid,
demonstrates the closeness of their relationship and them holding hands symbolisies their bond with one another. The
final long shot shows five of the friends together in a river, this demonstrates how they all lived differently and although
they had their own individual paths it lead to the same destination.

8. Non – Verbal Codes – The scene starts off with a women with a smiling facial expression, followed with intrinsic happiness
within the community. The couple kissing emphasises the togetherness of everyone, likewise the mise en scene of the
balloon ‘signifies’ the positivity that individuals had, and this lead to the collective happiness. The fire station denotes a
contrast of settings and the lighting dimmers down. Then, a women and man show a sence of worriness as they stare at
eachother, this emphasises that not everything is what it seems. Additionally, there were a range of relationships shown
throughout the trailer such as homosexual relations to old and young couples, this ultimately ‘relates’ to today’s society and
so is a big part of Coronation Street.
Verbal Codes – The beginning sequence demonstrate joyful non-digetic sound, of which was parallel with the characters
who illustrated happiness within their community. However, the scene suddenly takes a dramatic turn, as there were
digetic sounds of sirens. Then, the digetic as well as non-digetic sounds were constantly switching of which made up the
trailer as a whole.
Technical Codes – The close up of the women with the dog is heart-warming for the audience. On the one hand, the close –
up of the man gives the audience another view, as he looked almost fed up or a sense of worry, of which foreshadowed that
something a chaotic may occur. The mid shot of the child playing with his father, denotes the blissful life that they have with
eachother, and close bond that they have. The obscured shot was used to divert the concentration of the audience, as at first
they saw the man on the phone look worried, but by the use of this shot it switched the attention to the two women talking
and laughing. The final sequence is a tracking shot of a couple, to allow the audience to reflect on what they saw throughout
the course of the trailer.

9. Evaluation of Textual Analysis –
Compare and Contrast
Trailer 1) – Areas of Strength and what you would ‘repeat’ (Steve Neale)
One feature I will look to ‘repeat’ (Steve Neale) will be the soundtrack, as the intense as well as dramatic non-digetic sound is
parallel to the Western Cowboy theme and this is an aspect which I really like about the trailer; therefore I will be
implementing this idea into my soap opera trailer, however I will be looking to use original music that has a similar effect. The
different facial expressions as well as body language used within each character is essential and are factors I will be assuring
that I integrate into my trailer.
Trailer 2) – Areas of Strength and what you would ‘repeat’ (Steve Neale)
Within this trailer I will be looking to ‘repeat’ (Steve Neale) the clothing's, as clothes such as a hoodie can be seen as
stereotypically for young troubled people, and this will link really well with our soap opera trailer, as it is based on a range
of characters being suspicious, and by including a hoodie it will enable us to bring this element into life. The juxtapostion
of emotions from characters is an aspect I will be looking to implement, as it is essential to keep the audience constantly
engaged at all times.
Trailer 3) – Areas of Strength and what you would ‘repeat’ (Steve Neale)
I look to ‘repeat’ (Steve Neale) the range of characters that Coronation Street include within there soap, likewise the
differentiation of relationships that are demonstrated in the soap is an aspect of which I look to implement into my own soap, so
that it can be a liberal soap, and apply to my young target audience. The juxtaposition of the two scenes is also an aspect that I
look to integrate into my trailer, as it brings out a contrast of emotions for the audience, and so the ‘caregivers’ (Maslows theory)
can empathise for the ones who are suffering.