Unit G324: Production Log
- 1. 1 St. Paul’s Catholic College Center Number: 64770 Candidate Number: 6593 Candidate Name: Leeza Ah-wan A2 Media Studies Unit G324: Advanced Portfolio in Media – Production Log Evidence of Planning & Research
- 2. 2 Aims and Objectives AO2 – Assess candidates’ application of knowledge and understanding in evaluating their own work, showing how meanings and responses are created. AO3 – Assess candidates’ ability to plan and construct media products using appropriate technical and creative skills. AO4 – Assess candidates’ ability to undertake, apply and present appropriate research. Brief Chosen A 45 second – 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 – Time)
- 3. 3 Contents Textual Analysis Eastenders - Soap Opera Codes & Conventions - Multi Strand Narrative Coronation Street “..the home, the family, domestic tribulations and the strong woman, and as such, it has long been said to appeal to the female viewer” ‘Masculinity and Popular television’ – Rebecca Feasey (2007) - Is this evident and how is this presented to the audience? Research Purpose of a Trailer Multi-Platform promotion Textual Analysis – Coronation Street and Hollyoaks Deadlines – Production Work Filming Dates: Edited Trailer – Complete: Promotional Poster – Complete: Promotional Magazine Cover – Complete: Evaluation– Complete: Production Work Director – Roles & Responsibilities? Producer – Roles & Responsibilities? Institution research – BBC Two _______________________________________________________________________________________________________
- 4. 4 SoapOpera Codes & Conventions – Lesson2 1) What are some of the Codes & Conventions of this genre? YOU MUST demonstrate what youalready know by completing a “Spider Diagram” ofwhat you know about OR expect from this genre: Other codes and conventions of the soap operagenre – Intro and outro (theme tune) Point of call – This is the ending where you see the ident e.g: the BBC point of call after Eastenders. Soaps like Coronation Street tend to have a “female” (Hartley) targeted audience. In particular, middle aged to older women. However, this isn’t always the case. The Hollyoaks logo is an example of “binary opposition” (Levi Strauss) as the denotation of both male and female signs “signifies” (De Saussure) they cater for both genders. Themes such as love, conflict and secrets are explored. Codes and Conventions of the Soap Opera Genre A convention typically ‘repeated’ (Steve Neale) within the soap opera genre is the incorporation of a multi stranded narrative. For example in Eastenders, the Beale’s 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 “personal relationship” (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 “signify” (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 “survivors” (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 “informs” (Katz) viewers about what they can expect from the show. In this case they can expect Eastenders to “inform, educate and entertain” (John Reith) as these are BBC’s core values. “Strong women” (Rebecca Feasey – 2007) e.g.: Kat from Eastenders.
- 5. 5 2) Codes & Conventions of the SoapOpera Genre The Soap Operagenre can be categorizedby the ‘repeated’ (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 – Present) Key informationregarding this text: Eastendersis aired on BBC as their mission valuesare to “inform, educate and entertain” (John Reith) and Eastendersdoes all of these things. Eastendersis available on BBC Iplayer which can be accessed through a number of platforms e.g.: TV, computer, tablet, mobile. Eastendersis aimed at those with a British “ethnicity” (Hartley) as peopleof other ethnicities will notunderstand the British humor. This soap is also available on demand. 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 Hartley’s 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) – THE WEEK OF REVELATIONS – EASTENDERS 2015 TRAILER – 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 “personal relationship” (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 Jane’s face denotes her panic and uneasiness. According to ‘Maslow’ this part of the trailer would appeal to “survivors” 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 “informs
- 7. 7 Focus on working class communities denoting ‘Beale’s plaice’. 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 educates” (Katz) viewers about the typical environment working class individuals may find themselves in. According to Maslow, this part of the trailer would appeal to “social climbers” as seeing the Beale’s may push them to improve their own status in society. “Multi-Stranded Narrative” The various settings (non verbal codes) denote a multi stranded narrative. The Beale’s 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 “diversion” (Katz) Through the lives of many characters being explored; viewers can fully immerse themselves in the text and escape reality for a little while. ‘Disequilibrium’ (Todorov) The verbal code of the non diegetic incidental music is creepy and sinister. This “signifies” (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 “enigma clue” (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 Lucy’s 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 ‘disequilibrium’ (Todorov) would cause “survivors” (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, John’s 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 “Hollyoaks Autumn 2014” above. Code & Convention Evidence (Verbal, Non-Verbal, Technical) Impact on the Audience (Katz, Maslow, Hartley) Romance The verbal code “Steven Hay will you marry me” denotes that these two men are in a relationship and madly in love. This storyline provides a “window into the world” (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 “personally identify” (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 “explorers” (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 “He loves us and we’re going to start a new life together” said by Carmel denotes the strong sense of hope she has to finally have the family she’s 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 “females” (Hartley). Those familiar with Carmel’s character will know that she is not the child’s mother but is prepared to do anything to get the family she’s 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 what’s happening. The diegetic verbal code “I’m having your baby” is said to Dodger. The zoom and close up used denotes his shocked facial expression (non verbal code). The shocked facial expression of Dodger “signifies” (De Saussure) that he does not want this baby and his world is about to get very complicated as he’s in a relationship with another woman. The conflict that is evidently about to arise in Dodger’s life as he is in a relationship with one woman, but fathering the child of another will appeal to “survivors” (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 “personal relationship” (Katz) with Dodger will tune in to see the turn his life is now about to take. It’s likely many “females” (Hartley) in particular will have a “personal relationship” (Katz) with this male as he provides a “female gaze” (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 “social climbers” (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. “Multi-Stranded Narrative” 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 “personally identify” (Katz) with different situations and characters. So, multiple storylines are imperative to keep a broad range of viewers interested. ‘Disequilibrium’ (Todorov) The diegetic verbal code “You need to go in there and tell the truth” denotes that John may go to prison and both his and Steven’s 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 don’t know if Steven will be able to The storyline about John going to prison would appeal to those who have a “personal relationship” (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 “signifies” (De Saussure) that the ‘disequilibrium’ (Todorov)will happen during the wedding and horror is about to strike. The crash storyline would appeal to those who want a form of “diversion” (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 “repeated” (Neale) by various soap operas. Soaps often exaggerate normality and day to day tasks, simply to present viewers with conflict and drama. It’s very rare that a wedding in any soap normally goes to plan, a disequilibrium” (Todorov) is almost always presented. Multi-strandednarrative A Multi-stranded narrative can be defined as….. 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: Multi-stranded narrative Family relationships and/or conflict Focus on working class communities ‘Disequilibrium’ (Todorov) 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 Kush’s 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. Kush’s birthday storyline is entertaining, whilst Jane’s storyline “informs” (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 (Dean’s) baby. Family relationships and/or conflict The diegetic verbal code “can’t you even begin to care!” is said by Shirley to her boyfriend Buster as they argue over what to do with their son’s child. Through the non verbal code of Shirley’s stressed facial expression viewers can see the feisty female believes she’s the only one trying to save their family. The diegetic verbal code “I appreciate your offer but I’m fine as I am” said by Cindy to Jane denotes that she doesn’t want to meet with her stepdad Ian as she’s angry with him. The diegetic verbal code “It certainly don’t mean I want to spend my birthday with him” is said by Patrick to Kim. Patrick says this about Kim’s new boyfriend, as they discuss going out for a family dinner for Patrick’s birthday. This firm declaration by the male denotes that he does not approve of Kim’s lover and evidently Vincent’s arrival on the square is “Caregivers” (Malsow) are likely to sympathies for Shirley who is torn between doing right by her son and helping her grandchild. Cindy’s attitude and ungratefulness provides a “window into the world” (Wendy Helsby) of how some teenagers behave. Some mothers or carers may be able to “personally identify” (Katz) with Jane’s frustration as kids tend to not understand the difficulty of parenting and take things for granted. Patrick’s reluctance to invite Vincent provides an “enigma clue” (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 “I’ve got to go back to the pub in an hour for a shift” is said by Nancy to Tamwar as this is where she works for a living. Shot reverse shots are used in the café as Cindy and Carol work. The diegetic verbal code “I can’t afford to go” said by Cindy, “informs” (Katz) viewers that the working class often have problems with money being tight. The representation of working class communities will appeal to working “class” (Hartley) viewers. They will be able to “personally identify” (Katz) with the demands of day to day work and understand financial struggles if they themselves don’t have sufficient wages. Disequilibrium’ (Todorov) A ‘disequilibrium’ (Todorov) is denoted through the diegetic verbal code: “What about the father? Dean aint quite aboard”. 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 isn’t up for it because he doesn’t want to upset Shabnam. The close up shots of Kush denote his troubled facial expression as he’s torn between his own happiness and keeping his girlfriend happy. Viewers will be aware that Dean’s 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 she’s going behind his back. Those that have a “personal relationship” (Katz) with Kush will want him to put himself first for once as he’s 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 “I want to show you off” 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 “female” (Hartley) viewers who fantasies about romance and a loving boyfriend.
- 13. 13 SoapOpera Codes & Conventions continued – Lesson3 Textual Analysis According to Rebecca Feasey in ‘Masculinity and Popular television’ (2007), the Soap Opera genre tends to focus on: “…the home, the family, domestic tribulations and the strong woman, and as such, it has long been said to appeal to the female viewer” 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 “window into the world” (Wendy Helsby) of everyday situations, which as viewers we can “personally identify” (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 “strong women” 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 “strong woman” (Rebecca Feasey) in a soap challenges John Berger’s theory of “men act, woman appear”. For example, there have been many examples in Eastenders where Janine has “emasculated” men and used them for money. Stereotypically, we associate a “female” (Hartley) dominated viewership when it comes to soap operas. It’s possible that many “females” enjoy watching soap operas because of the presence of a “strong woman”. The presence of an alpha female is encouraging to female “social climbers” (Maslow) who want a more dominant position within society. As a regular viewer of soap operas I personally believe that there is truth in Feasey’s theory. A prime example that I recall is when Tanya Branning from Eastenders took on the role of a “strong woman”. 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 Peggy’s trademark line: “Get out of my pub!” 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 – 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 “Thank you for what you did for Amy…You saved her life Leanne” denotes that Leanne conforms to Feasey’s ideology of a “strong woman” 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 resident’s homes or involve families (mise- en-scene). The street is a stereotypical example of a community, supporting Feasey’s ideology of the focus on “the home”. 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 “strong women” regarding the burning down of the house. As Roy tries to interfere, the diegetic verbal code “stay out of this Roy!” said by Leanne presents him as weak and dismissive, which is the “binary opposite” (Levi Strauss) to the strong and bold character of Leanne. As Leanne successfully emasculates Roy, her role as a “strong woman” 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 “we don’t know that” as he blames Carla for starting the fire without any proof. The non-verbal code of Norris’ embarrassed facial expression denotes him as weak in contrast to the “strong woman” serving him. As he doesn’t respond to her comeback, it’s 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 “signified” (De Saussure) to be the “binary opposite” (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 “Let’s go now...” and he obeys. 5. Jenny is at home with the baby conforming to Feasey’s ideology on the focus of the “home”. A scene like this would definitely appeal to a “female” (Hartley) viewer because of the stereotypical nurturing and motherly nature we assume most females have. 6.) The females in this sequence are presented as “strong women” as they are responsible for breaking all the news. The diegetic verbal code “Didn’t you hear?” is said by Tracy to Leanne as she enlightens her about the fire.
- 15. 15 7.) The verbal code “Zeanne...not hear, not today” is said as the Indian girl pulls away the boy’s arm. This scene denotes a clear focus on “family” as they are struggling with the loss of a loved one. However, she is also presented as a “strong woman” who dictates the actions of the boy. There are many examples of “strong women” 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 “strong woman” can appeal to all female viewers, regardless of their “ethnicity” (Hartley). “Multi-Stranded Narrative” 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. Family relationships and/or conflict It is denoted that Bethany is annoyed with David for not having completed his chores. Coronation Street Episode 2 – https://www.youtube.com/watch?v=sekLqwvN2w4 Code & Convention Evidence Impact on Audience Focus on working class communities “If you need any more help just let me know” Roy to the customers in his café. Sarah: “Where did you get that from” Bethany: “I bought it” Sarah: “Yeah… With what money” Roy seems to be happy doing his job and regular viewers of the soap will be aware he has been working in the café for a long time. It’s 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 Sarah’s response, it sounds as if she doesn’t have a lot of money. Sarah’s curiosity leads us to suspect that the bracelet may have been stolen, creating suspicion in viewers. Disequilibrium’ (Todorov) The diegetic verbal code: “If she turns up to that courtroom on the arm of Callum I shall drag her out of there by the scruff of her neck” – Gail says this to her mother as she’s 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 “disequilibrium” (Todrov) as there seems to be a lack of family support for the court case. Romance The two person shot of Leanne and her lover in Roy’s Café 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 “female” (Hartley) viewers who are romantic. Other Themes & Issues represented: “Max if you can’t find your grey socks just put the black ones on!” Underage pregnancy – “We need it to register the baby” 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 “personally identify” (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 “personal relationship`’ (Katz) with Faye as they can “identify” (Katz) with her situation. SoapOpera Codes & Conventions continued – 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 “informed” (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 what’s 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. It’s 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, it’s 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 “survivors” (Maslow). However, it’s also usual for soap opera trailers to be single stranded. For example, an Eastenders trailer was produced where Kat and Alfie’s dramatic reunion was the focus. If one storyline is the core focus like in this trailer, this connotes that it’s 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 ‘who killed Lucy Beale?’ 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 Lucy’s killer to be revealed, it’s 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) - It’s possible for a wider audience to be reached. - With more ways for the media text to be viewed, it’s more accessible. Ultimately, some form of Convergence is important when promoting a text to the target audience.
- 18. 18 3) Textual Analysis – Next Page - YOU MUST make notes on the following areas when deconstructing this sequence from Coronation Street: Multi-stranded narrative Character dilemmas ‘Personal Identification’ (Katz) https://www.youtube.com/watch?v=C_AU3BXAlhI “It’s not everyday that your firstborn leaves home is it” – Mothers watching the soap will be able to “personally identify” (Katz) with Sally’s heartbreak, as her daughter Rosie is about to move out. “I was up five times the other night with him” – 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 “You slept like a log last night” to Chesney denoting that she feels he doesn’t take much of the responsibility despite being the father. Other mums may be able to “personally identify” (Katz) and feel the same about their husband or boyfriend. Character dilemmas: “I aint got no job” – 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 “window into the world” (Wendy Helsby) of the unstable financial security some people have. Character dilemmas: “It looks like you!” Simon calls Carla a monster. Peter’s character is facing a dilemma, as his son doesn’t 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 isn’t 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 – Present)? The ident for Hollyoaks denotes both a male and female symbol, which is an example of “binary opposition” (Levi Strauss). This connotes that the soap have a target audience of both young “male” (Hartley) and “female” (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 “signify” (De Saussure) that there will be both “male” and “female” 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 it’s target audience is so specific and therefore the needs of viewers can be precisely catered for. Next Page - Hollyoaks – “White Wedding Trailer” - http://www.youtube.com/watch?v=Bu2sW-r9Vb4 2. YOU MUST make notes on the following areas when deconstructing this sequence from Hollyoaks: Binary opposition of the non-diegetic music Symbolism of the non-verbal code of the tear Representation of Pregnancy 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, it’s 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 “It’s a nice day for a white wedding” is certainly used in “binary opposition” (Levi Strauss) to the dystopian setting, low key lighting and black outfits of the bride and groom. It’s clearly anything but a “white wedding”. 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 ‘stained’. Even if viewers aren’t familiar with the storyline or do not watch Hollyoaks they are provided with “enigma clues” (Roland Barthes) that this wedding is going to go terribly wrong. It’s going to be the “binary opposite” (Levi Strauss) to anything white as truth and betrayal are revealed. For the guests, their memories will be ‘stained’ and marked
- 20. 20 with the destructive day that is to come. The close up shot of the black tear falling from Mercedes eye “signifies” (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 “signified” (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 child’s toy also connotes how Mercedes’ 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: “is it secrets about the baby that will cause the wedding to fall apart?” Whether or not there’s a secret about the baby, it is denoted that the theme of secrets will definitely be explored in the wedding episode. The verbal code “to love, honor and betray “said by the non diegetic voice over denotes some form of deceit. Lastly, the close up shot of the black flower on the groom’s 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 – 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 – YOU MUST research the institution that your trailer will be exhibited on. Tips: Programming, Target audience, Audience figures, History of the channel. BBC 2 is a broad-based mainstream channel that naturally targets an older audience. Their key focus is to appeal to viewers aged 35-54 and to reach out to a more culturally diverse audience. BBC 2 embraces all genres but factual programming is their fundamental purpose. Viewers can find the finest Arts, History, Science, human interest documentaries as well as leisure programmers. They aim for their output to be intelligent, rich in content yet accessible and entertaining. BBC 2 is the original home of many classic comedies, including: ‘The Catherine Tate Show’ and entertainment panel shows such as ‘Have I Got News For You’. They also air other favorites such as ‘Top Gear’, ‘Dragons Den’ and ‘The Great British Bake Off’. BBC 2 exhibits programs that “inform, educate and entertain” (John Reith). BBC 2 launched on the 20th April 1964.