Soap Opera Genre –

Independent Textual

Analysis

Name: Joshua Davey

Candidate Number: 5892

Center Name: St. Paul‟s Catholic College

Center Number: 64770

OCR Media Studies – A2 Level

Unit G324: Advanced

Portfolio

Trailer 1 – Coronation Street http://www.youtube.com/watch?v=UcVoNEhhICU

Verbal Codes –Dialogue – There isn‟t any dialogue as the trailer is mostly taken up by a non-diegetic soundtrack. This is similar to most other trailers

which usually have just a soundtrack to „signify‟ (De Saussure) what the trailer is about, which is about the wedding between Becky and

Steve. The text at the end, which states “Four funerals and a wedding”, connotes to the audience that there is death associated with the

happiness. This is then portrayed through the sirens of the emergency vehicles that are shown in the flash forwards. They are displayed

for only a split second and then it returns back to the utopian society.

Voiceover – There isn‟t a voiceover in the trailer as there is a lack of dialogue, but also there is no need for one as the soundtrack

„informs‟ (Katz) the audience of the story of the trailer and the events that are about to unfold.

Soundtrack – “the pavement always stays beneath my feet” connotes to the audience that they go about their daily lives, living

extremely down to earth as the public would outside the narrative, creating verisimilitude. The verbal code “the street where you live”

connotes to the audience that anything can occur wherever you live and also there is „personal identification‟ (Katz) whereby the

audience can identity with the crisis that is could occur. This creates an enigma clue (Roland Barthes), which the audience are left

wondering where and when in the narrative is the crisis going to occur.

Sound Effects – There are sound effects that have been added post-production to the trailer to add emphasis on the crisis. These sound

effects are sirens and the thudding of boots on the ground as the emergency services sprint to their vehicles. The reason for these effects

being added post-production is the increase the volume so that the presence of the sounds cuts through the audience more and adds to

„disequilibrium‟ (Todorov) often associated to this scandalous and gripping genre.

Non-Verbal Codes Setting – The setting of the trailer is in Weatherfield, a fictional setting portrayed as being in Manchester. There is a working class

community that is depicted to the audience, which is connoted by there being the pub and the landlord walking out. Also the postman

walking past on his rounds, as well as there being a car garage and also showing the families from around the area, represents that there

is a sense of realism that is being created by the producers for the audience to not only „personally identify‟ but also „personally relate‟

to the theme of the narrative.

Lighting – High key lighting is portrayed when the main focus is on the street as it is creating the feel of a utopian community for the

audience to „personally identify‟ (Katz) with. In contrast to this sense of happiness and „equilibrium‟, low key lighting is portrayed when

the main focus of the trailer subverts to the emergency services getting ready to respond to the incident. The intended impact of the

glimpses is there is incoming danger and it will affect everyone within the narrative and the audience.

Costumes – The costumes of the characters vary throughout the trailer; this is due to the overall working class community feel within the

trailer. There are characters that are dressed in suits and formal attire. These characters are displayed with expensive phones, bags and

cars. The audience can differentiate these characters from the working class characters by their appearance and also their body

language.

Facial Expressions and Characters – The facial expressions of the majority of the characters denote that they are at the pinnacle of their

lives. They are smiling and laughing while walking around the town, while two of the characters show blank facial expressions connoting

to the audience that there is previous history between the characters they are staring at.

Technical Codes –

Camera Angles – The camera angles used are a low angles. The low angle is at the beginning of the trailer and is to create

the emphasis of the relevance of the character in the narrative and the other characters within the trailer. The audience

are then left with an „enigma clue‟ (Roland Barthes) of wondering what is the backstory of the characters if they haven‟t

seen the programme before.

Camera Shots – The shots that are used throughout the trailer are close-ups and mid-shot. These shots are employed in

order to show the facial expression of the characters and to connote the happiness of each of them to the audience, which

the stereotypical „female viewer‟ (Feasey – 2007) would not normally expect when consuming a soap opera media text.

The mid-shots is usually incorporate a group of characters and shows the relationship between between them, by making

the audience feel as though they are part of the community within the narrative, creating the sense of realism.

Camera Movement - There is use of tracking, tilting and panning throughout the trailer, which is used to sweep

effortlessly through the street and show the different aspects and to promote the community feel of the narrative as well

as immersing the audience into the narrative. The panning is extremely effective as it connotes to the audience as if they

are actually a person walking amongst the characters, which is common in the genre and one of the appealing factors as to

why so many people tune in each week.

Editing – The eye line match between all of the characters is to connote to the audience that all of the characters are

equal within the narrative.

Trailer 1 – Coronation Street http://www.youtube.com/watch?v=UcVoNEhhICU

Trailer 2 – Eastenders http://www.youtube.com/watch?v=8p4xlLezos0

Verbal Codes –

Dialogue – There is diegetic dialogue from two of the characters, in this case between Kat and Alfie. Kat says “Where do ya get a drink round

here?” and then Alfie replies “I think you are gonna need one”. This connotes to the audience that there is a „disequilibrium‟ (Todorov) within

the coming episodes of the programme and also suggests to the audience that there is previous history between both the characters within the

narrative.

Voiceover – There is a non-diegetic voiceover at the end of the trailer which states “It‟s all about to kick off in the square” connoting to the

audience that something big is about to go down in the narrative and also suggests to the audience that it is only between the characters that

are present within the trailer.

Soundtrack – The soundtrack that is playing throughout the whole of the trailer is a western themed showdown. This not only builds the tension

of the trailer but also leaves the audience thinking why there is this showdown, creating an „enigma clue‟ (Roland Barthes) of why the theme of

the trailer is set the way it is; could there be an actual fight between these characters. There is also the recognisable incidental music of the

opening of the Eastenders theme tune, which is presented to the audience at the end of each episode to „signify‟ they are being left on a

cliffhanger and have to wait until the next episode to find out the outcome of the actions of the last episode. The main reason for this is to build

tension within the audience and to plant the seed, that the producers want them to keep viewing their television programme.

Sound Effects – There are non-diegetic sound effects such as a gun being loaded to emphasise that, as is stated in the voice over, “It‟s all about

to kick off in the square”. Then at the end of the trailer there are synchronous sound effects that sound like saloon doors flapping in the wind as

the showdown is about to begin. These effects help to connote what is taking place to the audience and for them to get a sense of

verisimilitude.

Non-Verbal Codes

Setting – The setting of the trailer is in Walford, Albert Square, which is portrayed as being in the east end of London. There is a working class

community displayed to the audience because of range of characters shown in the trailer, for example there are people in the café, outside the pub and

in the streets. The appearance of the Queen Victoria pub suggest to the audience that it is run down and abandoned due to the absence of Kat and Alfie

who ran the pub. The boards on the pub suggest that it has been abandoned for quite a while, which creates the sense of the relationship between Kat

and Alfie is dilapidated and crumbling down to its foundations.

Lighting – The lighting is high key, which connotes happy and smiling faced people within the narrative. This is however challenged when Kat has the

showdown with Alfie, whereby the low key lighting connotes there is an incident about to occur on the show very soon. The light in the trailer is

primarily natural lighting.

Costumes – The costumes, apart from Kat and Alfie, are normal and what is expected of people living their daily lives informal in the case of the

working class characters but formal for the upper class who predominantly wear suits. Kat and Alfie are dressed in old fashioned cowboy western style

attire which is only fitting as they are about to take place in what appears to be a showdown. Kat is the „binary opposite‟ (Levi Strauss) of what is

expected in a showdown as it is usually both male characters that it takes place between. This is then also challenging the „men act, women appear‟

(Berger) stereotype by stating that Kat is the main focus of the trailer.

Facial Expressions and Characters – All of the characters facial expressions change from happy, laughing and smiles to looks of shock and disbelief as

Kat enters the square. Of these characters the majority shut up their establishments, the café being the main example of this. The expressions suggest

to the audience that there is friction between Kat and Alfie this suggests to the audience that they have had a relationship in the past and are now

separated.. The other characters look on at the showdown with disbelief of what is about to happen. Kat conforms to the view of the soap opera genre

which in her case is the “strong woman” (Feasey). This view allows the audience to „personally identify‟ (Katz) with her as they can see that she is one

of the main characters in the narrative and relate to her in their daily lives.

Technical Codes –

Camera Angles – There are both high and low angles used in the trailer and they are used in different ways to connote to

the audience who is charge and who has the most power. At the beginning of the trailer Kat is prominently shot from a low

angle, stating to the audience that she is in charge of the narrative and she is the „femme fatale‟. In contrast, Alfie walks

in to the shot and the focus shifts to him and the low angles now preside with him as Kat is then shown at the eye line of

Alfie. At the end of the trailer there is a high angle, which connotes to the audience that both of the main focused

characters are vulnerable but at the same time equal.

Camera Shots – Throughout the trailer there is use of close-ups, mid shots and an establishing shot. These close-up shots

are extremely prevalent at displaying the characters emotions and facial expressions to the audience. They‟re in shock to

see Kat standing in the square. The mid shots usually incorporate two or more characters or a part of the pub. These are

useful for the audience because it gives them a better look at the body language each of the characters are presenting Kat

with.

Camera Movement – There is only mainly use of tracking and tilting within the trailer. The tracking is used as Kat walks

along and is showing her boots as she walks along with the spikes sticking out of the back. The connotations of the spikes

are that they are showing she is sharp and will cut the square apart in the terms of the narrative being put at

disequilibrium. This meets the audiences expectations of the soap opera genre because of the realism that is created as

the audience can „personally relate‟ (Katz) to character in their lives. The tilting occurs when she stops and stands still

and the focus is made on her head to show her facial expressions. Alfie then appears and there is tilting upwards to him to

show that he is the „alpha male‟ and that he does conform to the gender stereotype of how „men act, women appear‟

(Berger). This movement creates a sense of realism for the audience as it is showing every aspect of the characters

perspectives and makes them.

Editing – The editing featured in the trailer is mainly fast paced cuts that help to build up until the climax of the trailer.

This helps to create tension in the audience as is seen at the end of the trailer, where Kat and Alfie have a stare out. The

cuts between them gradually gain pace until the non-diegetic voiceover.

Trailer 2 – Eastenders http://www.youtube.com/watch?v=8p4xlLezos0

Evaluation of Textual Analysis –

Compare and Contrast

Trailer 1) – Areas of Strength and what you would „repeat‟ (Steve Neale) or “exploit” (Abercrombie – 1995)

The areas that I would „repeat‟ or „exploit‟ are the fast paced cuts between each of the scenes that are tightly packed

together. Also the lighting that was used, in this case was high key, adds a Utopian feel to the overall trailer and will make

the audience able to „personally identify‟ (Katz) with it more easily and feel a sense of relief that the genre is not all doom

and gloom. Another area which I thought could be repeated was the use of a non-diegetic soundtrack to help tell a story for

the audience. The soundtrack meant there was no need for any dialogue or a voiceover because it told the story of what was

going on throughout the whole of the trailer. The way that this trailer is different to trailer two is that it did not have any

dialogue, which is a plus as it makes it easier to film and means that all that needs to be done is the correct shots and it is

ready for editing. Also I would like to „exploit‟ the use of the editing style of the non-diegetic music and sound effects to

actively build up the tension and suspense of the audience for the end of the trailer.

Trailer 2) – Areas of Strength and what you would „repeat‟ (Steve Neale) or “exploit” (Abercrombie – 1995)

An area that I would „repeat‟ or „exploit‟ from this trailer is different use of shot types. These were shots such as close-ups,

mid shots and establishing shots. These all help to add emphasis on the narrative of the trailer and allows for the audience to

better engage and build a „personal relationship‟ (Katz) with the characters. Another area I would „repeat‟ or „exploit‟ is the

sound effects that were used; they really added to the tension and the suspense even though they maybe where not as

prominent as they could have been; they still managed to add depth to the narrative. Lastly, I would also try to incorporate

the camera movements such as tracking or tilting. These will help the audience to remain a part of the trailer and to fully

immerse themselves in the narrative of the trailer. The difference between this and trailer one is really the dialogue. The

dialogue in this trailer really did emphasise that the showdown between both characters was about to begin and connoted to

the audience that there were troubled times ahead. Lastly the area I would like to „exploit‟ is the non-diegetic soundtrack

and the way that it builds up the tension in the audience until the end of the trailer. This build up will be extremely effective

and will want the audience to tune in to the programme when it is scheduled to be on.