Academic Research - The Search For Tomorrow in Today's Soap Operas by Tania Modleski

The Search For Tomorrow in Today’s Soap Operas – Notes on a feminine narrative frame
By Tania Modleski

The article opens with a crucial statement about Soap Operas, “the hermeneutic code predominates”. This explains how exciting storylines are a necessity within soap operas in attracting and retaining a large audience. Snares, Equivocations and Jamming’s are used hyperbolically to keep the audience in suspense and guessing about the storyline, viewing figures will increase significantly when a storyline reaches its climax and resolution as the audience become to drawn into the characters lives. Recently soap such as Eastenders and Coronation Street  have incorporated controversial storylines where the scripts have been under ‘lockdown’, even the actors within the program do not know the real storyline – this increases the soaps media coverage and emphasises the hermeneutic code as the hype around ‘who did it’ increases.

The article also explains how soap operas often dwell on the darker nature or human relationships and emotions – although there will be happiness and joy within a soap opera this will often be followed closely by another characters turmoil. Audiences often watch soap operas as a chance to escape their everyday life and personal problems, they take comfort in watching the exaggerated crimes and events, the majority knowing their own lives are not as bad. The directors, producers and writers play upon this by making their storylines continually elaborate by, “portraying a family in constant turmoil and appealing to the spectator”. Most popular Soap Operas are now broadcast after 5pm meaning that most viewers use them as a form of relaxation and escapism from the inconvenience of real life.

 

As discussed in the article, most soap operas feature a villainess disguised as a family woman, she is not the stereotypical criminal woman but instead a controlling mother or family member who uses her position within the family to manipulate and control other characters. An example of this stereotype is an old character from Eastender’s, Stella, who mentally abused and controlled step-child Ben Mitchell. Furthermore, villains – both female and male are incorporated for the audiences enjoyment as they find “extreme delight” in despising the character, they also enjoy watching them develop. The more controversial storylines such as murder or abduction play on the darker side of human nature, so whilst the majority of viewers would never do such thing they find it fascinating to watch a character who does.

 

The article also discusses that women make up the majority of soap viewing figures. Soap operas appeal more to women as stereotypically they are the more emotional audience in need of the relief soap operas offer. This means that a wide and fair variety of women stereotypes must be represented in the soap opera, including more modern stereotypes such as single mothers, business women and women with different cultures. If the audience is able to relate and connect with the characters it makes them more interested and dedicated to the program. This is something we need to keep in mind whilst producing our own soap, it is important to represent a fair and honest variety of characters so that there will be something to appeal to all different demographics. Stereotypes are important as they are built upon real people from everyday lives adding to the realism of  Soap Operas.