Production Process - Poster

Our Plan for the poster which was to be set in a classroom, featuring a larger cast and a difference in levels appropriate to character, status and storyline was not possible due to problems with characters shown in the trailer not being able to attend. Instead we created our poster by using the original shot, and instead – letting the connotations of the poster hint at the storyline. The poster created is directly linked to the storylines instead of introducing the soap, this was chosen because it is more interesting for the audience and more likely to attract a  large amount of viewing figures.

We chose an image from the first shoot that featured the main characters looking directly at the camera and smiling. The photo itself shows a happy, friendly group of teenagers looking happy and relaxed in each other’s company. Two clear relationships are identifiable via the body language of the two couples of either end of the formation. The first couple are stood close together with arms round each other, their facial expressions happy and smiling, the set-up of these two characters connotes to the reader that these two characters are in love, in a happy relationship. Another main character stood central is smiling but her smile if not full, this connotes that there is a traumatic storyline based around her, it creates interest and curiosity about the character amongst the reader. The couple of the opposite end are shown in a formation very different to the first. They are stood close together and the male is using his partner to rest his arm upon, this immediately connotes to the audience that he is in control of the relationship. It hints to the reader that they have a turbulent relationship and aren’t truly as happy as their facial expressions show.

The image however, has been printed onto a piece of paper that has been torn in two. This immediately connotes to the reader that the group of friends is no more; it creates a range of indexical references influenced such as broken trust and lost friendships which attracts the audience as they want to know more. This is parallel to the first storyline and the events in which Charlotte ‘loses’ all her friends shown in the image. It identifies and angry, sad tone to the reader which plays on the readers mind. We chose to create an angry, sad tone as like discussed in Daytime Soaps written by Louise Spence these sorts of storylines attract audiences because it “…takes them into their own problems … or problems worse than their own” (Harpers 1942).

In the top left hand corner the title “Cliffside” is shown in a simple white font, underneath the tagline “the secret’s out” is visible in italics; this tagline directly links with the trailer. This makes its more memorable for the reader, creating a sense of excitement and tension as they begin to guess what “secrets” are coming out. In the bottom right corner, also shown in a simple white font is the information “coming soon to Channel Four”, this reminds the reader of the soap operas channel and also distinguishes the style of soap opera. As Channel Four is known for being controversial and modern it allows the knowledge to the audience that the soap opera will follow the institutions tone. The white font is chosen as it contrasts against the pure black background creating, with the picture of which its saturation has been edited to blunt the brighter colours, a sense of foreboding. A sinister, dark tone is created and a sense of betrayal is evident, both aspects which will attract the audience – making them watch the soap opera.

Production Process - Magazine

The plan for our magazine covered developed once it came to creating the piece, although some aspects of the original plan remain. The blue background, an influence taken from many television magazine covers, is a welcoming colour that will attract the reader’s eye. We chose this colour due to its use on other magazine covers and because of the colour connotations such as relaxation and trauma – two theme’s connected with soap operas.  The yellow, pink, white and black colours are chosen to contrast against the blue background, making information easy to locate and read. The colours have been used within features that have direct links to the colour connotations. The inclusion of pink, blue and yellow also directly links to our target audience, we aim for both our soap opera, magazine cover and poster to appeal to a diverse audience – by using blue, pink and yellow we hope to appeal to all genders.

The circular format was chosen in relation to a television magazine cover we studied. We liked the interesting layout of the circles and believe this will give our cover a unique and original appearance in comparison to others. The circle relates directly to ‘soap bubbles’ on a literal meaning but the connotations of the circle format is the ‘circle of life’ a parallel to soap operas and their direct link to following characters from birth to death, offering a realistic view of working class, modern life.

The logo for our soap opera was created in keeping with the circular format and is featured in the top left corner, a common position for the title and logo of a magazine. The pink background has connotations of love which is used to portray a love for television – it is also a bright welcoming colour that is in keeping with the tone of the magazine cover. The lexis “TV” is shown in the largest font, a direct link that this is the main importance of the magazine and therefore, the main topic of the magazine. We chose to edit text “TV” to give it a shadow, to contrast it further against the background showing it to be the main focus. We chose for the second lexis in our magazine’s title, “inside” to be shown vertically, we felt this logo was unique and would therefore be easily remembered by our target audience. The pragmatics of this phrase tell the reader that the information within this magazine is exclusive and honest, it tells them that the information given in the magazine is the most they can read upon the topics discussed. Above the logo, in the circle is the phrase “your weekly television guide” – the syntax of the sentence means that the inclusive pronoun comes first showing that the reader is the main importance of the magazine – it makes the reader feel part of a ‘group’, as if the magazine has been produced with them, personally, in mind; it is also in keeping with the chatty tone created by the magazine front cover. The lexis “guide” rather than magazine was chosen because the pragmatics of the lexis “guide” are much softer and once again, connotes that the magazine is reliable, honest and helpful. This phrase is shown in white font, contrasting it from the rest of the logo and the box so that it is easily visible to the reader.

The feature directly below the logo is shown in a circle frame, with a pink outline. The pink outline is used to connote love, the topic which is discussed within the feature. Layered over an image is the tagline “Tom and Jade – Together or Not?”, this tagline was chosen as it directly interacts with the audience asking them to think about it which will develop a sense of curiosity. We have used a common technique of television magazines by not naming the soap opera; television magazines often neglect showing which soap is being discussed as they know their audience will be able to establish by the characters which soap opera it is; so instead we have named two characters which acts as an indexical reference to the soap opera. The feature uses a staged image to show two characters, established as Tom and Jade. The body language of the characters (stood side by side) shows the chemistry between the pair and their glum facial expression match with the tagline by connoting their ‘relationship’ is turbulent.

There are two other smaller features at the bottom, shown in a similar format however, these features relate directly to the main feature. A thick outline, either pink or yellow, highlights the features from the blue background making the information easily accessible for the audience, an outer glow is also used to isolate the features from the background – a technique used in the magazine covers studied. Both use screen grabs from the trailer to entice the reader, offering them hints about storylines and setting. Once feature shows two characters kissing with the tagline “Who’s kissing who?” layered over, this tagline – like the previous, by being an interrogative, interacts with the audience, making them think directly about the possibilities of relationships. It also immediately introduces one of the prime storylines, love and lust, creating a sense of excitement amongst the readers. The second feature shows a screen grab taken from the trailer showing the main street lit up at night, the light has been treated making it more noticeable and welcoming to the reader. The tagline layered over is, “inside – a tour of the town”, this invites the reader in by offering some exclusive information, and then teasing them to find out more. It shows that the magazine is reliable by offering a full explanation to the new soap opera.

In the top right corner, and bottom right corner of the page are two star-like puffs which are shown in yellow to connote the happiness and excitement about the topics within. The exclamations used in both create a sense of excitement for the reader, in keeping with the chatty, informal tone and making them want to read more and both have taglines which tease the reader by offering more information inside about these exciting features; these two techniques have been incorporated to make the reader more likely to buy the magazine. Both puffs are shown in the same format due to the similar theme within them – not only were the shapes and colours chosen do draw attention and because of the parallel connotations but because they both look like parody’s of a medal, which links directly to the competitive theme referred to in both. The bottom puff has been edited to that a shadow is visible around it, this is to isolate it from the background drawing the reader attention to it. The top puff has been edited to that an outer glow is visible; this is parallel to the comedy glow often shown when winning is refered to in other forms of media – this was incorporated as it fits in well with the chatty, informal tone of the magazine and excites the reader about the feature.

The price of the magazine is shown in between the top puff and main feature. A simple, san serif font is used for the “£1” and the colour white has been chosen to make it noticeable to the reader. We chose this price as we want to attract customers and can therefore not make our magazine two expensive.

The image of the main feature is shown in a circular format, in keeping with the theme that runs throughout. This is important within this feature as the connotations of the circle, life and death, are appropriate to this character and the opening storyline. A staged image is chosen to introduce the character whilst not giving away too much information about storylines, emotions and relationships – it also makes the character appear much more realistic. The character is looking directly at the camera and smiling, this was chosen instead of a glum facial expression as it is more welcoming to the audience and therefore more likely to attract their attention, and in turn more likely for them to watch the soap. It also connotes that the soap opera is fun and exciting, an feeling that will transfer onto the reader making them excited about the new soap. The girl is dressed modern clothing stereotypical to a teenage girl, this highlights her gender making her appear more vulnerable and emphasising other personality traits associated with her age and gender. The white background is used to connote innocence, parallel to the stereotype the magazine aims to create for the character so that her storyline will then shock and interest the audience. The characters head is edited so that it is layered over the circle, this connotes her big personality, it is also parallel to the opening storyline and her need to break free. Both the circle and image are edited so that a shadow is visible – the effect the shadow behind the character is the connotations to a darker side to her in comparison to the ‘happy’ girl represented. The circle’s shadow is used to highlight it from the background.

The first pink box, highlights the words “Cliffside, New Soap!” in the colours yellow and white. The title of the soap, “Cliffside” is shown in a yellow font parallel to the sunshine linked with the seaside setting. The pink box is used due to its connotations of love, a central theme within the opening storylines and throughout the soap opera. The phrase “new soap!” is shown in a larger white font to help promote the soap make it visible to the reader. The syntax of the exclamation names the soap first meaning making it easier to remember for the reader. Underneath this the masthead is visible in colour and font stereotypical to the format of television magazine covers. The lexis “secrets” was chosen as the masthead because it will trigger the audience to begin to imagine possible situations which will be influence by other soap operas, cultural references and expectations of society today. The inner yellow colour has connotations of sunshine, parallel to the setting and connotations of happiness, parallel to the character however, this is juxtaposed by a thick black outline. The black outline contrasts against the yellow connoting things may not be what they seem and giving the feature a more sinister tone this links directly to the happy character shown in the staged image and the foreboding shadow behind her. It immediately makes the reader curious about the character, making them want to find out more. Underneath the masthead is a tagline, shown in a pink box making it easily accessible to the reader and highlighting that extra information surrounding the topic of “secrets” is being offered. In a simple white font in the interrogative “Can Charlotte handle the truth or will the secrets come out?”, this immediately develops the readers interest and curiosity by naming the character in the image as Charlotte. The interrogative also interacts with the reader by asking them to question and think about possible scenarios and storylines. The lexis “handle” was chosen as the pragmatics of the word allude to the possibility that Charlotte is some sort of turmoil and things are getting to much – it creates a cliff-hanger between the information and the first episode meaning the reader is more likely to watch the soap opera and find out more.

Existing Media Texts - Trailer's Shots and Length

Existing Media Texts - Coronation Street - Tonys Return Trailer

Coronation Street – Tony’s Return Trailer

This trailer shows the menacing return of Tony Gordon and the streets reaction to his mysterious escape from prison. This trailer is short and uses fast paced cuts to create tension amongst the audience, attracting them to the soap.

The trailer starts with mid-shot showing two police officers stood waiting in a shadowy office; as a figure walks into the foreground of the shot they introduce her as “Carla Connor”, the camera then cuts mid-shot of Carla to confirm her entrance before cutting back to a mid-shot of the police officers who announce they “need a word” regarding her “husband”, as they tell her this the camera zooms in slightly, focusing on the police officers, emphasising the seriousness of the events they are about to reveal.  Behind the diegetic speech a parallel sound track is building that climaxes when the officers reveal why they are present. Within the office the lighting is dark which creates a sense of foreboding and the shadows of the blinds are cast upon the characters faces this connotes jail bars and highlights the theme of crime which runs throughout the trailer.

As the trailer cuts to a different scenario the amount of instruments used within the parallel soundtrack increases therefore increasing the suspense. Non-diegetic dialogue, “Guess who’s escaped?”, is heard over a close-up of black trainers and trousers walking down a cobbled street – an indexical reference to coronation street.  The dark colours and close-up of feet walking creates a sense of foreboding, again heightening the suspense and tension. The camera then cuts to a close-up of another characters, Claire Peacock, and a sound bridge is used as she answers her own question “Tony Gordon”. This scenario is set in the corner shop showing that his return effects a wide range of characters and is a controversial issue. The camera then cuts back to the figure walking on the cobbled ground, this time his whole legs and trainers are in the shot, a the suspense is heighten as the audience will be compelled to watch to see the revealing of the unknown characters face.

The trailer then features quick cuts of other scenarios and character affected by his return. Each scenario is linked by to the figure walking via sound bridges, alluding to the audience that the figure is Tony Gordon. The scenarios are clips taken from the actual soap pieced together for the trailer, this develops the dramatic effect as the audience get ‘sneak peaks’ at what’s to come. The different pieces of dialogue follow on immediately from each other which adds to the fast pace yet also represents a gossip circle, connoting the sense of community and knowing everyone’s business.  Each time the figure is seen a different part of his body is shown until after the last scenario worrying about his return the audience see a close-up of his hooded head turn around and revealing his identity as, Tony Gordon.  He is dressed completely in black with his hood up and a bloodied lip, the whole trailer is based around the urban, traditional, close-knit community Coronation Street portrays this is contrasted with the binary opposite being the negative stereotype of a ‘Hoody’ and the malicious character – Tony Gordon. By having Tony wear his hood up not only does it represent the negative stereotype of a ‘Hoody’ it adds mystery to the character and alludes to the fact he does not want his return to noticed as he is ‘out for revenge’. Over this shot a non-diegetic voiceover is used to explain the trailer, “Out of prison, out for revenge on the street”.

The trailer then cuts to a close-up of Hayley, followed by a close-up of Carla and then Maria; these shots are taken from the final episodes for Tony Gordon and the big event that the trailer builds up too. Hayley wears a blue top which connotes her sadness and distress, Carla wear a grey top which differentiates from her typical black showing she is not the strong powerful character she normally is and Maria wear a red top connoting her danger and also bravery. The setting for this finale is the Factory which immediately connotes some form of danger to the audience; the lighting is again dark foreshadowing the dark events to come. A sound bridge is used again, this time of Tony speaking revealing he is going to murder the ladies he has trapped. When he speaks the words “and I’m going to enjoy it” the camera cuts to a close-up of his face smiling making the dialogue into diegetic. The close-up of Tony is much closer than the previous three which combined with his smiling face and dark setting gives him the power of the situation and makes his appear much more mentally disturbed and threating. The trailer ends with a gunshot followed by the titles and a narrative voice explaining the times and channels that the episodes can be viewed; this is last in the trailer so that it is more memorable for the audience.

I think this trailer creates and devlops tension and suspense throughout which in turn, keep the audience guessing. The soundbridges used to connect the different scene's are powerful in maintaining and devloping supsense, i would like to incoperate something similar to this within our trailer. To incorperate lines that allude to a previous conversation, this will mean that our audience will begin to create there own scenarios and guess as to when and how the lines were said.

Existing Media Texts - Storylines

Soap Operas are renowned for raising awareness about controversial social and personal issues. They are often incorporate storylines that push the boundaries of what is considered sociably acceptable in order for people to understand and become aware of the issues that surround everyday life. Raising awareness via this mediation means a large, versatile audience is reached and it also offers the audience a realistic story meaning they can relate and sympathise with the scenario. 

Eastenders has won various awards and praise for all the different storylines they have featured raising awareness about issues on both a large and small scale. In 1999 a long-running storyline based around Martin Fowler (see image one), a character recently diagnosed with H.I.V was broadcast, also reflected in this storyline was someone struggling with the revelation he was homosexual. Surveys by the National Aids Trust found that a large majority of the teenage population learnt about H.I.V via the soaps controversial storyline. In 2002 character Kat Slater played by Jessie Wallace revealed she had been abused by her uncle and then tried to commit suicide when her uncle returned into her life. Calls to the National Society for the Prevention of Cruelty to Children increased by 60% due to awareness Eastenders created, it not only raised awareness amongst the audience but gave some children the confidence they need to speak up about cruelty they endured. The charity heavily praised and thanked Eastenders for dealing the storyline in such a sensitive and direct manner, the soap also won a Mental Health Media Award for this certain storyline. The soap was also nominated for the award twice more, winning once, both surrounding storylines featuring Stacey Slater. Although criticized by some at the time Eastenders also helped raise awareness surrounding domestic violence by characters Little-Mo Slater and Trevor Morgan, ending in the retaliation of Little-Mo. A similar storyline was also featured some years later featuring characters Denise Johnson and Owen Turner, both storylines were praised dramatically for the awareness raised and over 3500 calls were made to the helplines mentioned after the episodes. The soap was also thanked by learning disability charity Mencap for their awareness and realistic representation of a reaction to the birth of a child with Down’s Syndrome featuring Billy and Honey Mitchell.

Coronation Street has also raised awareness through many of its characters and storylines. Characters Sarah Platt in her teenage years was the feature of a least three controversial issues, she raised awareness about teenage pregnancy, falling pregnant at 13 in 2000. She later featured in a storyline based around older men and security on the internet as she arranged to meet a boy, later to be discovered as a forty year old man. Furthermore, she almost lost her life and she stole a car with a boyfriend and crashed after joy-riding, although primarily criticized by some critics Coronation Street was commended on each of these storylines for dealing with them in a sensitive way. Going back, in 1977 Coronation Street raised awareness surrounding rape ordeals after character Deirdre was molested – she didn’t tell anyone ending in her standing on top of a bridge, her suicide was disrupted by a passer-by and she realised what she was doing. This storyline was commended in helping women to come forth to the police or a loved one about molesting or rape. Other storyline’s praised by other mediations and charities for raising awareness were the young lesbian relationship between the religious Sophie Webster and Sian Powers (see image two) a current on-going storyline, Clair peacock who, after giving birth, suffered from postnatal depression, this was hyperbolic as at the time she also had a ‘friend’ scheming against her in the want for the family yet and the storylines surrounding John Snape a character who has an affair with pupil Rosie Webster before kid-napping her.

Hollyoaks is a much more modern British soap opera that has only been around since 1995 and features a more glamorous younger cast whilst remaining a realistic in its portrayal of life within a community. Within its short time running this soap has covered and raised awareness about all the following issues and more, either through a central storyline or secondary theme, drug addiction, abortion, suicide, homelessness, financial problems, interracial relationships, racism, religion, bisexuality, homosexuality, child abuse, domestic violence, anorexia/bulimia, self-harm, teenage pregnancy (see image three), SIDS, miscarriage, Gender Identity Disorder.


All three soaps mentioned have significance in raising awareness and have dramatically helped victims of these issues. All have dealt with many more storylines and theme than mentioned and have helped many more people than could be reached by a simple advert. This form of media to raise awareness is so popular because it offers the audience a realistic scenario they can relate too. In turn the audience enjoys watching such storylines to gain understanding these issues, and often as a form of escapism in realising their own lives aren’t quite as bad. Within our soap opera we have thought carefully about the opening storyline and have chosen a controversial storyline, that will also run parallel to many other storylines within our soap as a way of attracting a large audience and raising awareness. Our trailer features a young girl who commits suicide as she is tired of leading two lives and keeping secrets, she is pregnant, her boyfriend is a drug dealer, her friend is adopted and she is the only one who knows, her other friend is dating a dramatically older man, she is failing at school and her parents are strict and only care about ‘keeping up appearances’; by incorporating such a strong storyline which will features many snares and jams to keep the audience interested we aim to raise awareness and attract large viewing figures.

Existing Media Texts - Stereotypes Within Coronation Street & Eastenders

Stereotypes within Coronation Street and Eastenders

Coronation Street and Eastenders are two of the longest standing popular in British television. Both have featured a diverse range of characters in their time, each characters representing stereotypes or countertypes associated with the time frame – as soap operas move forward with present time, so must their characters. Within British soaps links between stereotypes, characters and in turn storylines, can be drawn between each programme.

Liz McDonald from Coronation street (see picture one) and Peggy Mitchell from Eastenders (see picture two) both represent the stereotype of a strong, older female however this is not the only similarity that can be drawn between them. Although Peggy Mitchell has now left Eastenders, and there is an age gap between them, they both have dyed blonde hair, a loud booming voice - heavy with the accent from their soap and questionable dress-sense. Both are known to wear bright, block colours a parallel to their character, connoting their large personality and power. Furthermore, both characters have owned the main forums, the local pub; both take pride in their work place and Peggy Mitchell is commonly associated with the stock phrase “Get out my pub!”. The similarities also run within their relationships, both are mothers of two sons and have been unlucky in love throughout their time featuring in both soaps. Their strong female stereotype is often broken by love or family problems. Both McDonald and Mitchell have two sons constantly getting themselves into trouble and crime, although in recent years both sets of sons appear to be settling down and both have a son who is now a secondary character living in Spain. Surrounding the theme of love, both women have been primarily linked too one man, the one whom they both had the longest marriage with but since the end of that relationship have also been linked to other male characters and secondary ‘suitors’. This is such a popular stereotype as a large amount of the audience will be able to link this representation to a female they know who is hard-working for the sake of their family and pride, who may come across abrupt yet has a soft nature.

Another stereotype featured within soap operas is a ‘troubled young mother’. Sarah Platt from Coronation Street (see picture three) and Stacey Slater from Eastenders ( see picture four) were both portrayed as troubled teenagers, constantly getting themselves into awkward situations who finally matured after leaving their teens behind and motherhood. With Tina’s teenage years came her causing of trouble and disrespect, similar to Stacey’s entrance to the Eastenders. Both characters fell pregnant twice during their time on the soaps, Sarah Platt had two children by the age 17, fathered by two different men; her first child, Bethany, was mainly cared for by her grandma until Sarah was left for dead in a car accident, causing the realisation of how much she loved Bethany and her second child died premature. Stacey and on-off boyfriend Bradley fell pregnant yet had an abortion – a choice pushed by Bradley after, Stacey suffered depression. She then, some years after, fell pregnant again by street ‘newbie’ Ryan – she reconciled with Bradley and they agreed to bring the child-up as their own only for Bradley to die before Lilly was born. So both made their name in the soap as teenagers, both fell pregnant twice to only mother one child and both felt the need to constantly break-away from their dysfunctional family. This stereotype is very common within soaps, and troubled teenagers/ troubled young mums can be played in many different ways although, like with these two characters both mature eventually, coxed into it by their love for their children. This is a popular stereotype and constantly used within soap operas, the representations varying to fit desired storylines. Within our soap opera we have chosen to incorporate a troubled young woman as we feel it would be a strong opening storyline, taking influence from these two characters we created the character Charlotte. Charlotte is a pregnant teenagers who’s boyfriend, a drug dealer wants nothing to do with her or the baby; torn between what she wants and what will be accepted Charlotte commits suicide as she feels people will not let her keep her child but she cannot kill it. This is not the only trouble Charlotte has, to make her a more 3D character for the few episodes she stars in she has other issues with friends, school work and family.

Outcast School-Boy characters are often used in soap operas and two recent characters are Darren Miller from Eastenders (see picture five) and Chesney Battersby-Brown from Coronation Street (see picture six) are both representations of this stereotype. Both introduced on their soaps from a young age and commonly associated with broken family storylines, both characters have also featured in storylines about failing schoolwork. However, now in their late teens both characters are budding ‘entrepreneurs’, Darren running the car-lot and Chesney running his own market stall they are both driven by the determination to be someone, something unfamiliar to their families. Both characters are also used comically, mainly as they struggle in relationships due to their individual looks. Darren miller was featured in a relationship with Oxford-student Libby for over a year, this relationship was used by the soap to raise sexual awareness on virginity as they agreed to not have sex until after marriage. Following with the stereotype, in a recent storyline Chesney has become serious with girlfriend Katy – also to raise awareness about sex however, this time aiming it towards the parents and the idea that it is better to accept your child may be sexually active and warn them. Links are still constantly being drawn between the pair due to their age-gap and as both are still popular characters in the soaps the links will continue to form.

Another common stereotype featured in most British soap operas is a manipulative woman, commonly named ‘The Bitch’. Janine Malloy from Eastenders (see picture seven) and Tracy Barlow from Coronation street (see picture eight) have both played this stereotype from a young age, as their character grew, so did their hatred for everyone. Both characters have similar images, dark hair, pale skin and are commonly associated with wearing black or red, this image connotes the evil, dangerous and mysterious character they play. In similar storylines both have murdered a lover, both have turbulent relationships with men,  both use their femininity to get what they want, both use and manipulate their family and both have no concern for anyone except themselves. This stereotype is so common as it captures the audiences darker side of nature and plays upon the type of woman most of the audience could never imagine themselves. An audience enjoys watching these women on television because they are a stereotype uncommon in society and normality.

A more recent stereotype that is becoming continually present within soap operas is a gay man. Both Coronation Street and Eastenders have current characters representing this stereotype, Sean Tully (see picture nine) and Christian Clarke (see picture ten). Sean Tully has been a character in Coronation Street for over five years and has featured in various main storylines; like the stereotype commonly associated with gay men he has mainly women friends, looks after his appearance and is unlucky in love - unlike Christian he also has the stereotypical ‘gay accent. Christian’s character also follow the stereotype has mainly women friends (including a female best friend), religiously looks after his appearance and has been unlucky in love. However, recently Eastenders broadcast a storyline in which Christian struck a relationship with Syed with whom their relationship started unlucky but they finally live happily together. Syed could be interpreted as the countertype gay man, he comes from a heavily religious Muslim family who have now disowned him due to his homosexuality. In a move with modern society both soaps have also began to feature and include the theme of gay parenting as Sean wants to be reunited with a son he fathered and Christian suggests the idea of fatherhood to his partner Syed. This stereotype is becoming constantly present due to the absence presence theory, to not feature a gay male or lesbian would be an unfair look upon the realistic society soap operas aim to create. The inclusion of this stereotype echoes society and their acceptance of homosexuality. Twenty years ago featuring a homosexual within a popular, prime time programme would be considered taboo but as society modernises, as do soap operas. Similar to this is the inclusion of different races and religions to mimic the growing culture in Britain, it would be a unfair portrayal of society if soap operas were not to include these people.

Many other stereotypes are also featured in soaps, these may be stereotypes true to life,
stereotypes that have been exaggerated due to the soap opera or stereotypes that are mainly found within soap operas.  Both Coronation Street and Eastenders have featured a dog loved by the community - Shmicheal and Gumbo, both have currently featured a girl next door stereotype who’s character is now becoming more central – Sian Powers and Jodie Gold, both feature a young girl who is introduced with a father who later dies – Tina McIntyre and Ruby Allen, both feature pairs of sisters of whom the eldest is troublesome and the youngest becomes the kind, ‘good’ one – Rosie and Sophie Webster and Lauren and Abi Branning, both soaps have featured couples portraying domestic violence – Shelley Unwin and Charlie Stubbs and Little-Mo Slater and Trevor Morgan and both soaps features ‘hunky’ local doctors – Dr. Al Jenkins and Dr. Matt Carter. Stereotypes are a crucial part of soap operas in order for the audience to relate and connect to the characters, British soap operas are popular because they give their audience characters that are realistic and found in every-day life.

Not only do stereotypes reoccur across soap operas they also reoccur within soap operas, alerted to fit new storylines and match with the modern version of the representation. Coronations Street Chris Gray is a builder suspected of domestic violence currently making a name for himself amongst the females, similar to this Charlie Stubbs was a builder, featured in a domestic violence storyline and linked to most of the streets female population. Graeme Proctor is similar to the older character Kirk Sutherland, both bring comedy to the soap and represent a young male, not that bright and ‘not going anywhere’ – both characters worked alongside Ashley Peacock in the Butchers and have also been linked to many other jobs, both have comical one-liners due to their lack of intelligence and both are loved by the audience. Ashley Peacock and Tyrone Dobbs were both representations of kind-hearted family men, ruled by their wives. Katy Harris is another representation of a troubled young teenager whose storylines featured controversial issues such as abortion, murder, diabetes and a relationship with an older man. Craig Harris and Rosie Webster are another stereotype of a young teenage couple, similar to Chesney and Katy whose storylines all helped raise sexual awareness. Angela Harris and Anna Windass are both stereotypes of hardworking, working class mothers.

After looking in depth and researching stereotypes within soap operas it becomes clear that it is hard to fit soap opera characters into stereotypes because “soap opera characters have both histories and memories” (Imitations of Life : a Reader on Film and Television Drama – Marcia Landy). Although characters may be created with a certain stereotype in mind, once they become a central, 3D characters they become representations as they all have different stories to tell. A stereotype is a stock character, a person with a group of certain attributes created to help the audience understand the story; as this character grows there stereotype broadens and although they remain within that stereotype, they way they are represented differs. Within our trailer we introduce our potenial audience to a range of well known stereotypes, the main one being the introduction to a troubled young woman stereotype. Stereotypes are key within soap operas so that the audience can easily relate and follow the storylines, within our character breakdown we have included a range of modern and popular stereotypes whilst keeping them original with unique features such as builder stereotype who is 'kept in check' by his wife.

Existing Media Texts - Soap Conventions in Eastenders - Episode Four in Comparison with Modern

http://www.youtube.com/watch?v=hoxu1WgNaEc - episode four
http://www.youtube.com/watch?v=pm4spAD-2ps - 2010 episode

The episode in comparison to the earlier fourth episode of eastenders is taken from mid-2010, the storyline is based around a controverisal storyline - the arsonist attack on the soaps main forum, the Queen Vic. By looking at the opening to this episode and the opening of the fourth episode (EE4) it is clear that the complexity of soap operas have developed over time yet the basic conventions remain important and evident.

When comparing the storylines and themes within the two opening it is clear that the storylines have become more complex with at least three to five running parallel in each modern day episode, the themes dealt with are also much more controversial. In the first four minutes of the modern episode we are introduced to three storylines: Stacey Slater’s confession of killing Archie Mitchell, Janine’s Wedding and Phil’s drug use and five themes (rape, murder, drugs, marriage/love and violence) some that would have been considered taboo in the time of EE4. In the first four minutes of EE4 we are introduced to two storylines, a party happening later at the Queen Vic. and a police investigation and homelessness and three themes family disagreements and murder. The pace and content of the storylines and themes have developed dramatically; in modern day the storylines are introduced straight away, again including many controversial issues – this makes it more enjoyable for the viewers, keeping them interested.

The shift in characters has also dramatically changed since the EE4 episode. The obvious change is the amount of male and female characters. Within the EE4 episode the majority of the characters introduced are male, this is because of the time era it is produced in – within that time era males would dominant most careers, even simpler things such as working on the market. It was around this time that female equality was beginning to change, and that is kept current in the soap through the female worker in the café. We are introduced to one stereotype early on into the EE4 episode, a wayward teenage character called nick. Most soaps feature this type of stock character as it is one that is common with society that will always be around no matter of the time frame. Within recent episode we get introduced a stock character featured in every soap, the strong female – Peggy Mitchell and Pat Butcher. They are normally women who have big, problematic families yet tackle and face up to everything no matter what happens; stereotypically these women will always have a least one wayward son. The stock characters and stereotypes within the Soap Operas stay relatively similar throughout time as these as realistic people the viewers can relate too. It is the image, gender, age, race, sexuality or disability that changes over time as people become more open-minded to difference. The soaps also have to include these variations of characters now-a-days to represent a realistic microcosm of the city they are portraying otherwise the theory absence presence would be picked apparent.

The basics of Soap opera conventions have not changed overtime, instead they have devloped to include more controversial issues and complex, interwined plotlines. The two episodes both introduce big storylines - the dead person and the fire; controversial themes – murder and arson; both feature stereotypes making the Soap realistic and easier to relate too and the forums within the soap have remained the same – the pub, the café and the market. Both use simple camera shots mainly at eye level close-ups, mid-shots and wide-shots to keep things as realistic as possible. Editing is often unheard of within Soap Operas unless it’s a big storyline being broadcast or an anniversary for the Soap. This transfers to our soap opera mainly by the inclusion of storylines, we need to make sure that we include a range on on-going, intertwined storylines to keep our modern audience interested and in suspense.

Existing Media Texts - Hollyoaks Opening Credits

Opening Credits

Hollyoaks

The opening shot of the Hollyoaks opening credits is an extreme close up on bright red lips, eating a cherry with a manicured hand (see picture one). This is an indexical reference to sexual relationships, losing your virginity and passion. The colour on the screen has been treated so that the red stands out; the colour red also has connotations of passion, love, seduction and even danger. The opening shot immediately introduces two of the soaps main themes, relationships and sex.

The second shot we see is a close-up of a man holding roses looking directly into the camera, the film then cuts to a mid shot of him sat with a bunch of red roses behind a ‘target circle’ (picture two). The mis-en-scene of the shot, a man dressed smart holding red roses immediately connote the stock character he plays within the soap, a ‘heart throb’. The red rose’s run parallel to the previous shot, connoting love and keeping the theme of relationships obvious to the audience. The target behind the character suggest his character plays games, the chase and the challenge of seducing a girl appeal to him instead of a committed relationship; girls are his target.

 

As well as black, the colours prominent to the whole of the opening credit sequence are red, white and blue – the colours of the British flag. This immediately connotes to the audience that this is a British soap that focuses on the stereotypical British town. As all of the characters in the sequence are young adults, it also suggests to the audience that this is a soap based around the younger generation.

 

Shortly after this shot the sequence includes a long shot of a young woman that has been made to parody a magazine cover (see picture three). Again the prominent colours of the shot are red and blue – the woman is poised on a red sofa in the shape of lips with a pen in her mouth, connoting seduction and passion. The magazine cover has mock headline such as ‘What Every Girl Wants’, hinting at secretive and devious storylines – it could also be a parallel to the character; a strong, determined female.

 

Towards the end of the sequence we again see a shot that could signify a storyline within the soap (see picture four). A mid shot of a young man dressed in a red shirt is stood in front of a background covered with black scribbled writing. Certain words within the background are made much more visible than other such as, “questions” and “understand”; this background could be a portrayal of the mans state of mind, allowing a storyline based around some kind of mental illness connoting his mind is a ‘mess’ - like the background, and nobody “understands”. This would be appropriate as within soaps they often deal with issues of mental illness. The red on his shirt instead of connoting love like the previous shots instead connotes danger and illness. The ‘splatters and dribbles’ of red paint on the background connote blood, suggesting to the audience he could either harm another character or himself.

 

The opening credits to Hollyoaks create a glamorous and provocative atmosphere for the soap, the opening credits are created in a similar way to other media forms such as a music video. The sequence is matched with an upbeat soundtrack and use’s heavy editing, something not often seen in British soaps; the cuts are sharp and quick, only allowing the audience around a second to view each shot – this could connote the ‘five minutes of fame’ that the younger generation today aspire too. The shot on screen often have two layers of images over each other and the lights and colours on the video have been treated all this creates a modern, sophisticated effect that resembles a music video and gives the sequence a ‘party/night-club’ like feel.

Existing Media Texts - Coronation Street Opening Credits

Opening Credits

Coronation Street

Coronation Streets opening credits begin with a birds-eye shot of a ‘housing estate’ and the title ‘Coronation Street’ shown in a simple white font at the bottom of the screen. The font is similar to that of a street sign, connoting this is the name of the street – it also portrays that the show will be based around a close-knit community living on this street. The shot pans across the area onto the main street (see picture one), on the ground a milk-van is visible, something an audience could associate with traditionalism and close-knit communities. It could also trigger nostalgia amongst the older audience, drawing them into the program. The mis-en-scene of the show represents a stereotypical urban, gritty street. The red-brick houses are associated directly with Britain as is the red post-box in the corner of the shot, showing this is a British soap.

The next shot is a long shot under showing further houses under a bridge (see picture two). Visible on the bridge is graffiti, connoting the program contains the stereotype of ‘unruly’ youths. In the background of the shot the houses and streets appear very close together again, representing the close-knit community.

The next shot is another long shot, this time of the backs of the alleys – an important forum within the soap (see picture three). This shot highlights the close proximity of the houses showing the close-knit community, connoting how they all depend on each other. On the other hand, the by highlighting how close the characters ‘live’ to each other it also illustrates that if a problem was to arise, they would be no escape. A black cat is evident walking along one of the garden walls, this is an omen of bad luck – matching the use of pathetic fallacy via the rain showing that the street does not constantly live in happiness and bliss.

The credits end with a long shot of the main street, this time at eye level (see picture four). In the foreground of the shot is the most important forum the ‘Rovers Return’ – the streets pub, visible in the background another important forum the corner shop. As all the previous mis-en-scene leads us to think of traditional, old Britain the only piece of evidence that this is modern day soap is the train that goes by in the background of this shot; this will help the soaps viewing figures as by being a modern soap the younger generation will be more attracted.

The soundtrack uses brass instruments which connote to the audience the program focuses on a working class area, it also triggers an indexical reference to the closeknit working communitys that were around during the time of the mining strike. The opening credits for coronation street are shorter in comparison to Hollyoaks and offer a much more realistic insight into the the soap opera about to be viewed. They do not feature characters but instead focus on the setting and important forums. Instead of the heavy editing and sharp cuts that are used in the Hollyoaks opening credits, the only editing Coronation Street uses is the dissolve transitions to merge each shot; the continuity and whole atmosphere of the credits is smooth and traditional.

Existing Media - Eastenders Trailer - Kat & Alfie Return

Kat & Alfie Return Trailer

This trailer shows the return of Kat and Alfie Moon, dedicated viewers will already know that Kat was previously a Slater and used to run the Vic with her husband Alfie, with whom she had a controversial and eventful marriage. The trailer has a clever take on a urban western theme running throughout with Kat and Alfie playing the parts of putative enemy ‘cowboys’, this represents the power they once had within the ‘Square’ and the eventful marriage they have. It is immediately connoted, through the theme of the trailer that their marriage is currently in danger. It appears that the colour to the trailer has been drained slightly giving it a brown tinge, to increase the western theme because during the era that most Western films were set sepia photography was in vogue. Unlike the episodes within a Soap Opera, trailer do not have realism as their main achievement – they are created to promote storylines and increase viewing figures which is why they often have themes and more advanced camera shots and editing.

The episode starts with a parallel soundtrack featuring the sound of wind chimes which creates an eerie atmosphere, similar to the soundtrack used for ‘We Wish You A Merry Christmas’ in their Christmas trailer in 2009. The other sound evident is the wind; although it is represented as an ambient sound it is super-diegetic and digitally amplified to make it more obvious to the viewer. It is featured in the shot as a newspaper rolls by, in keeping with the urban western theme as it would have stereotypically been rolling hay in a western film (see picture one). The trees and curtains in The Vic window are also blowing to emphasise the wind, this is pathetic fallacy as it connotes the ‘storm’ to come and the characters return to the square are create an uproar in doing so. Fog is also blown across the shot which emphasises the wind, again making it obvious to the audience however, the fog also connotes dust from the fire blowing away, the Mitchells ownership is now gone and The Vic, the main forum, has new owners – it is a new ‘era’ and there is now a new ‘power’ in the square. The damage from the fire is still evident as The Vic. – which is in the centre of the shot, has blackened paintwork from ‘smoke-damage’ and boarded windows. This is in keeping with the realistic side of Soap Operas by using a realistic time change. The red of The Vic connoted love and warmth, parallel to the sentiment of the forum as the heart of community; it also has paradoxical value such as danger and blood, linked to previous storylines.

The shot then cuts to a mid-shot of a broken road sign swinging off the bridge. The sound of the sign swinging appears diegetic yet amplified to help create the dramatic effect of tension and is used to mimic what would be the swinging shutters on a western bar. The main colours of the shot are the off-white bridge which immediately connotes the ‘gritty’ ‘urban’ Soap life and the red and black, connoting the mystery of the characters return and the dangerous storylines they will bring with them.

There is a sense of desolation created in the trailer through abandoned high street, echoing the device used in Western films creating a sense of foreboding, warning of violent conflict to come.

As the music begins to build another diegetic sound is then added – footsteps, to match the action on screen, a tracking shot of someone’s feet walking through the market place (see picture two). The person is wearing black leather boots with a heel, an indexical sign the character is female. The boots are isolated from the blurred background making them stand out, heightening the tension and giving the character immediate power, linking both to the high status boots of the cowboy and to the jack boots of a Nazi. The black leather boots also connote manipulative female power.

The action then cuts to a scenario featuring the character Jane Beale, for this short section its helpful for the audience to have previous knowledge of the soap. Half of her face is shown to the left of the shot in the foreground, in the mid-ground are wooden blinds and in the background the outline of Kat walking down the street is evident; upon seeing Kat, Jane gasps, shuts the blinds and turn her said to the side. This order of events show that she knows who Kat is and is worried and confused about her return. This scenario represent Jane as vulnerable and intimidated a parallel to the on-going storyline of her being trapped in her ‘loveless’ marriage. Although darkness and shadows would normally connote power, by Jane shutting the blinds and leaving herself in the shadows it connotes that Kat is the powerful character – someone to be scared of, again developing the tension created. The shutting of the blinds also creates a divide between the two character’s showing that the return of Kat is unwelcome to the square.

The shot then cuts back to Kat out in the street, the background of the market place is out of focus connoting her isolation from the current community. She takes the stereotypical cowboy stance, feet spread shoulder width apart, and then her bags drops into the shot, the bag is leopard print connoting a strong, feisty and powerful female character reinforcing her predatory nature. A crane shot is then used to travel up her body showing her all black costume, short skirt and gold jewellery (see picture three). The camera finishes on a close-up of her face, revealing the character to the audience for the first time. Her facial expression shows a smug look, showing she is happy with her return. She is wearing large hooped earrings, has black dyed hair and red lipstick, dedicated viewers will know this is the stereotypical costume and make-up  for this character but newer viewer will associate this ‘look’ with the working class community Eastenders represents and the strong female character that Kat is.

Other characters are then shown, for 2-3 seconds in mid-shots that keep with the urban western theme running throughout the trailer such as the shot of Patrick lifting his hat. The camera then cuts back to a mid-shot of Kat and a diegetic laugh from somewhere else within the market is heard. An over the shoulder shot is then used to show a mid-shot of Janine and Pat who are speaking happily until they realise the return of Kat and their expressions change to shock and disgust (see picture four). Pat is a strong female character, who like Kat, is wearing leopard print this is a representation of these strong female characters and also connotes Pat to be powerful and feisty. Janine has curly blonde hair and is wearing a lace dress, this connotes – parallel to her character, that she is a sneaky, seductive and manipulative character. Once again the camera cuts to a mid-shot of Kat and she flings off her cardigan to reveal a strappy black lace top, with a red top underneath. The costume is used because it is stereotypical to her character and class but also because of the connotations. The red connotes her passionate, dangerous character and also suggests that love will be a current storyline with this character; the black lace makes her appear powerful yet also feminine, introducing a theme of sexual tension which is later developed by the appearance of husband Alfie.

A shot of Ian peering through wooden blinds is then shown, along with the diegetic dialogue “flippin’ ‘eck!”. This phrase is a colloquial phrase, appropriate to the Soap Operas setting and working class community. Furthermore, it portrays his surprise at the return of this character. You can only see his eyes as he hides behind the blinds, an indexical sign that he is worried and fearful of her return – he knows things are about to change.

The camera then shows a close-up of Kat reaching into a black bag to take out a gold circle, following this a mid-shot is used to show her flicking the gold circle open, making it obvious to be a mirror. The sound of the mirror has been digitally editing to resemble the sound of someone loading a gun. It heightens the tension, showing the most important part, ‘show-down’ of the trailer is still to come. 

Kat then speaks to her-self saying “where does a girl get a drink round here”, and the action cuts to a longshot of The Vic. as another character, Roxy, spots Kat and runs back in. A sound bridge is then used as a man voice says “I think you’re gonna need one”, Kat then turns around to reveal a male figure, all dressed in black standing in the shadows under a bridge. A close-up is then used to show Alfie walking forward to reveal who he is, he is also wearing a black hat to add mystery to his character. As this happens the parallel soundtrack climaxes and then stops leaving the only sound to be heard, the wind. A long-shot is then used to show the market, Kat legs are in the foreground of the shot, showing her standing in the stereotypical cowboy stance, the market stalls are in the mid-ground and Alfie in the background on top of this shot a male, non-diegetic voiceover is used to say “It’s all kicking off in the Square” (see picture five). This shot shows them in the stereotypical stance which would occur in a western film before a showdown, this develops the suspense as the viewers want to know if they will fight and why they are now being represented as enemies. This dialogue tells the audience that trouble is to come with these two characters, making them want to watch to find out. Alfie is also stood in the stereotypical cowboy stance showing he is also a strong, powerful character; he is dressed completely in black which emphasises his power and connotes to the audience that he could be a duplicitous character. The beginning of Eastenders theme tune is then used, slowed down, to match a quick montage of close-ups that flick from Kat to Alfie, getting closer until all you can see is their eyes. This heightens the tension and because within the trailer they are represented as enemies it connotes to the audience that their marriage is either over or in trouble – by the trailer being mainly based around Kat is hints that she is the character who has caused the trouble. A non-diegetic voiceover is then used to introduce the program and viewing times, matching this is a birdseye-view shot showing the pair stood a distance apart, staring directly at each other as if waiting for the fight to commence.

The western urban theme to the trailer hints at the storyline as it sets Kat and Alfie up as enemies yet dedicated viewers will know the pair are married, the audience then want to watch to find out what has happened and why they have returned. By making The Vic. the main forum shown within the trailer it also hints the pub will play a big part in their return – this attracts viewers as they know that this is the heart of ‘Walfords’ community. The main colour used for both their costumes in black, showing that they are a ‘dangerous’ and powerful couple and that their return will cause a stir amongst the residents of the square.

Existing Media Texts - Hollyoaks Soap Trailer

Hollyoaks is commonly known as the soap opera that differs from other via its younger, more glamorous cast and this is highlighting in this trailer especially.

The trailer opens with a non-diegetic soundtrack that immediately makes a sharp noise to attract the audience, matching the soundtrack is the image of a young woman. The midshot pans to the left in and zoom in during the two seconds the shot appears, this intensifies the action along with the contrapuntal soundtrack. The background of the shot is in focus and a large painting is visible behind the young woman, the set up of the background connotes wealth to the audience, this is matched with the woman’s extravagant costume. She wears a strapless white dress which along with her wavy blonde hair connotes innocence and purity to the audience, giving her an ‘angelic-like’ look. However, this is juxtaposed by heavy make-up, her dark eyes and red lips remain in context with the theme of wealth and high-class created but make her appear manipulative and sneaky instead. The action then cuts to a hand which dragging its fingers along the wall, the hand is represented as the young woman’s due to her position in the previous shot and the red nail varnish. The red nail varnish immediately matches her heavy make-up, as the colour red has darker connotations such as anger and danger, this is complimented by the dark lighting of the shot; shadows also have dark connotations and this gives the trailer a more sinister tone. The shot is edited so that where the girl has dragged her fingers along the wall, long lines are left – edited to look like fire. This scenario has connotations of hell which is enhanced by the use of fire. Parallel to this is another sound layered over the soundtrack; this is also non-diegetic and is used to create a sense of fear. This combined with the contrapuntal music, connotations and juxtaposition of the young woman costume and lighting connotes to the audience that the trailer will deal with an event that is either evil or dangerous.

The action then cuts to another shot, as it does so dialogue within the contrapuntal soundtrack begins, the dialogue is indistinctive which further develops the tension and curiosity about the trailer. This shot uses an out of focus foreground (see image one) which alludes to the shape of a lady’s hand drinking a wine glass; the hand appears to be dressed in a black lace glove and the wine glass its holding also appears to be of a dark colour. The set-up of the shot once again connotes wealth and the dark colours connote sinister happenings and events. The lady’s arm could easily be seen as an indexical reference for a widow, which links with the fire/hell shot shown before – representing that death could be a theme within this storyline. Also parallel to the fire in the previous scene and indexical reference of a widow in the foreground, is the background of the shot that shows a bouquet of flowers on fire. It is clear that the fire is an editing technique as instead of a small fire and smoke the fire is something similar to a fire that could be seen for a huge blaze, or a fireball. The bouquet appears artistically set-out which again emphasise the wealthy, glamorous theme running throughout the trailer. The bouquet features a range of greenery, red flowers and a single white rose, the red connotes love parallel to the flowers but also danger linking to the trailer as a whole. By featuring the single white rose a sinister tone is once again highlighted, this puts the audience on edge as they try to piece together the separate shots, trying to make them link and figure out the story.

The next shot introduces another character, this time a young male stands centre of the mid-shot shouting (see image two). The action has been slowed down, exaggerating the anger on the man’s face – coming out of his mouth is fire. Once again this connotes danger, highlighting that a theme surrounding a fire is going to bring trauma to the soap. However, this also has connotations that his words are sharp and angry, representing his as a malicious, rude character. He is dressed in a smart black suit, which connotes power and wealth complimenting the editing technique of him speaking fire. In the foreground of the shot is a woman dressed in red, the foreground is heavily out of focus but by allowing the audience the knowledge he is speaking like this to a woman their curiosity is triggered as they wonder what she has done and how ‘evil’ the male character really is. The shot then cuts meaning the man is in the foreground out of focus. Once again the use of the colour red is heavily significant, as the woman is dressed in a red dress connoting love, passion and danger. It is also a strong red colour, connoting power which is matched by her action of hitting a glass – this allows the audience the knowledge that she will fight back and there could be a power struggle within this storyline. The next shot is shows the glass hitting the wall, like the previous two shots this one is also slowed down via editing to emphasis the emotions of the characters to the audience. As the glass hits the wall it turns into fire – the audience’s interest would be at a high now as they seek an explanation as to why the advert has such as central theme of fire and anger.

The finishing shot of the trailer shows more characters, hinting that these are all involved within the storyline (see image three). It shows the setting for all scenarios featured within the shot as set in a restaurant, hinting that one of the main forums will also come to harm during the storyline. The shot has been heavily edited to feature fire around the outsides and in the centre of the shot – this highlights that the storyline will feature a blaze once and for all to the audience; as the fire is edited in so near to the characters the connotation of danger is once again emphasised to the audience. The main colours within the shot are red, white and black - classic colours which together connote wealth and, in this shot combine together to connote a threat. Each colours separate connotations juxtapose each other such as innocence, evil and love showing that this is going to be a storyline that will trigger many emotions from both characters and audience. Over this shot, along with the soundtrack is a non-diegetic voiceover, “ a week that will change Hollyoaks forever”. This once again creates interest, suspense and tension for the audience, by highlighting it’s a serious and controversial storyline that will span out for a week and that the repercussions of it will be around “forever”.