My thoughts on the project as a whole
Please click the link below to view
Yollanda's Evaluation
Thursday, 25 February 2010
New Delivery Systems to watch Soap
The following is an article on a new way to access soaps online.
The BBC, ITV and Channel 4 are to launch a joint on-demand service, which will bring together thousands of hours of television programmes in one place.
Please click the link below to view our research.
New delivery systems to watch soaps
The BBC, ITV and Channel 4 are to launch a joint on-demand service, which will bring together thousands of hours of television programmes in one place.
Please click the link below to view our research.
New delivery systems to watch soaps
Friday, 12 February 2010
Sofias Diary Video blog drama-Info
Before the online drama e20 was made in 2010 I discovered that the consept of an online web drama was established back in 2006. In relation to our teen drama trailer this proves that there is a market for teenager drama, for online drama and the growing populatirty of socail networking websites amungst young people.
The infomation below is from this website http://en.wikipedia.org/wiki/Sofia's_Diary
Sofia's Diary is a drama that is shown online through the social networking site Bebo, which is the same site that hosts KateModern. A version of Sofia's Diary originally came out in 2003 in Portugal. This means it actually predates the first video of lonelygirl15 which came out in 2006. Sofia is played by 22-year-old Rachel Hyde-Harvey. Sofia's Diary is the first ever internet based show to make the transition to UK TV following its acquisition by Channel Five (from Sony Pictures Television International) on April 17, 2008.
The first two seasons of the show were broadcast on 'Fiver' (previously 'Five Life'). Following an 8-month break, Sofia's Diary returned to Bebo to begin a 6-week third season, from May 29, 2009. This season differs to the first two, in that new episodes are only being shown on Tuesdays and Fridays, as opposed to every weekday. Sure Girl originally sponsored Sofia's Diary. Season 3 of the show is being exclusively sponsored by Transport for London to help increase awareness among teenagers of its road safety campaign.
The infomation below is from this website http://en.wikipedia.org/wiki/Sofia's_Diary
Sofia's Diary is a drama that is shown online through the social networking site Bebo, which is the same site that hosts KateModern. A version of Sofia's Diary originally came out in 2003 in Portugal. This means it actually predates the first video of lonelygirl15 which came out in 2006. Sofia is played by 22-year-old Rachel Hyde-Harvey. Sofia's Diary is the first ever internet based show to make the transition to UK TV following its acquisition by Channel Five (from Sony Pictures Television International) on April 17, 2008.
The first two seasons of the show were broadcast on 'Fiver' (previously 'Five Life'). Following an 8-month break, Sofia's Diary returned to Bebo to begin a 6-week third season, from May 29, 2009. This season differs to the first two, in that new episodes are only being shown on Tuesdays and Fridays, as opposed to every weekday. Sure Girl originally sponsored Sofia's Diary. Season 3 of the show is being exclusively sponsored by Transport for London to help increase awareness among teenagers of its road safety campaign.
Conventions of a 'Soap Opera'
My task was too research conventions including narrative, target audience, micro elements, British and American soaps and characters. This helped me learn valuable knowledge on soap operas and was extremely important in helping to construct our characters and storyline.
Please click the link below for the 'Conventions of Soap Opera'
This is the logo of a popular American day time Soap opera.
Please click the link below for the 'Conventions of Soap Opera'
This is the logo of a popular American day time Soap opera.
Sophia's Diary and the new media ecology
This video shows the creator of the video blog series talking about using new techonolgies for broadcast.
http://www.youtube.com/watch?v=2gkB22Eg4V0
http://www.youtube.com/watch?v=2gkB22Eg4V0
E20 an online drama
After we came up with the consept of the drama being set around a socail network site and having finished the shooting and editing process. Then we heard that the BBC was advertising a new teen drama which is an online web drama called E20 which is a spinoff of the popular british soap Eastenders. Unlike the Eastenders episodes that are 30 mins the online episodes are 15 mins as the series is online. This is further proof that teenagers are watching television less and less and this could become the norm for watching dramas and other forms of television online.
here is a link to the e20 website.
http://www.bbc.co.uk/eastenders/e20/
This is a review of the new online drama
E20
There’s been the usual post-festive lull in proceedings down EastEnders way. Except, of course, for the now annual merry-go-round of the Mitchells cluttering up Walford Nick, grassing on each other, screeching about family, calling Richie The Imaginarium Lawyer, all whilst DI Marsden gazes calmly into middle distance and contemplates the satisfying noise that would result from balling Peggy up and using her to skittle through the rest of the clan. But regular Enders viewers may have noticed a slight disturbance this week. A group of new characters have materialised – as if by magic – in the Square. Dressed in garishly alien clothing, spouting some kind of inscrutable language and inexplicably hiding under beds – this can only mean one thing: The Yoof have arrived! Having been thrown directly into the ocean of the main soap for a week now, some Yoof-types have doggy-paddled into the rockpool of the new EastEnders online spin-off, E20. Presumably an attempt by Auntie Beeb to capture some of the prime Skins market from sexy, hipster Channel 4, E20 features four main characters for the kids to identify with. There’s blank-faced hunky-boybot Leon, God-fearing but possible bun-carrying Mercy, Zsa Zsa, who’s constructed purely from eyeliner and emo ennui, and an irritating zany one who talks a lot, who may or may not be called Fatboy. All the hallmarks of supposed great youth-oriented drama are present. The whole thing starts with a shakey-cam chase featuring someone angrily demanding money for no reason. There’s constant background indie music. There’s mild sex, swearing and violence (very mild, mind, none of this commercial pottymouthing on the Reithian BBC). There’s even a remix of the EastEnders theme tune which, for many, will recall traumatic memories of that terrible summer when Oxide And Neutrino ruled the airwaves and the country was driven mad by being repeatedly beseeched to stop getting shot. So far, so demographically-suitable. But, you’ll no doubt be horrified to hear, there’re two major problems.
One: it’s claimed this is written by a group of specially trained 17-22-year-olds, but there’re horrible, grimy, grown-up fingerprints all over it. In the first episodes, there are references to Ren and Stimpy, the film Gladiator, and Eiffel 65! Eiffel 65?! When was the last time they bothered popular culture? Ten years ago, that’s when! And it seems quite unlikely that E20’s target audience pressed their foetal eyes against Mummy’s belly-button and chuckled up some amniotic fluid in response to crazed early-‘90s chihuahuas. It’s just embarrassing, like a 50-year-old Anglican vicar courting the teenage vote by referring to God as “The Big Dawg in the sky”.
Two: there’s no need for it. EastEnders is a fusty old ballbag of a soap, which is fine and dandy, but it is, gaudy costume jewellery and old man boozer fetishists aside, sorely lacking in sex appeal. When your actual young people have got a sackful of Klaxons and hot lesbian action over on the depraved and shiny Hollyoaks, there is nothing in E20 to make them watch.
As for the rest of us pensioners, the limited appeal of a ten-minute online Enders blipvert where the acting grand-dame is Lucy Beale is sure to wear off faster than the fiery zing of a freshly-sucked Fisherman’s Friend. Draw the blanket over your knees and stick with the telly version.
this is a link to the website where the review came from
http://watchwithmothers.net/2010/01/11/e20/
here is a link to the e20 website.
http://www.bbc.co.uk/eastenders/e20/
This is a review of the new online drama
E20
There’s been the usual post-festive lull in proceedings down EastEnders way. Except, of course, for the now annual merry-go-round of the Mitchells cluttering up Walford Nick, grassing on each other, screeching about family, calling Richie The Imaginarium Lawyer, all whilst DI Marsden gazes calmly into middle distance and contemplates the satisfying noise that would result from balling Peggy up and using her to skittle through the rest of the clan. But regular Enders viewers may have noticed a slight disturbance this week. A group of new characters have materialised – as if by magic – in the Square. Dressed in garishly alien clothing, spouting some kind of inscrutable language and inexplicably hiding under beds – this can only mean one thing: The Yoof have arrived! Having been thrown directly into the ocean of the main soap for a week now, some Yoof-types have doggy-paddled into the rockpool of the new EastEnders online spin-off, E20. Presumably an attempt by Auntie Beeb to capture some of the prime Skins market from sexy, hipster Channel 4, E20 features four main characters for the kids to identify with. There’s blank-faced hunky-boybot Leon, God-fearing but possible bun-carrying Mercy, Zsa Zsa, who’s constructed purely from eyeliner and emo ennui, and an irritating zany one who talks a lot, who may or may not be called Fatboy. All the hallmarks of supposed great youth-oriented drama are present. The whole thing starts with a shakey-cam chase featuring someone angrily demanding money for no reason. There’s constant background indie music. There’s mild sex, swearing and violence (very mild, mind, none of this commercial pottymouthing on the Reithian BBC). There’s even a remix of the EastEnders theme tune which, for many, will recall traumatic memories of that terrible summer when Oxide And Neutrino ruled the airwaves and the country was driven mad by being repeatedly beseeched to stop getting shot. So far, so demographically-suitable. But, you’ll no doubt be horrified to hear, there’re two major problems.
One: it’s claimed this is written by a group of specially trained 17-22-year-olds, but there’re horrible, grimy, grown-up fingerprints all over it. In the first episodes, there are references to Ren and Stimpy, the film Gladiator, and Eiffel 65! Eiffel 65?! When was the last time they bothered popular culture? Ten years ago, that’s when! And it seems quite unlikely that E20’s target audience pressed their foetal eyes against Mummy’s belly-button and chuckled up some amniotic fluid in response to crazed early-‘90s chihuahuas. It’s just embarrassing, like a 50-year-old Anglican vicar courting the teenage vote by referring to God as “The Big Dawg in the sky”.
Two: there’s no need for it. EastEnders is a fusty old ballbag of a soap, which is fine and dandy, but it is, gaudy costume jewellery and old man boozer fetishists aside, sorely lacking in sex appeal. When your actual young people have got a sackful of Klaxons and hot lesbian action over on the depraved and shiny Hollyoaks, there is nothing in E20 to make them watch.
As for the rest of us pensioners, the limited appeal of a ten-minute online Enders blipvert where the acting grand-dame is Lucy Beale is sure to wear off faster than the fiery zing of a freshly-sucked Fisherman’s Friend. Draw the blanket over your knees and stick with the telly version.
this is a link to the website where the review came from
http://watchwithmothers.net/2010/01/11/e20/
Ideology of soap opera
Brookside and Emmerdale have introduced a high quota of intensive dramatic incident such as a plane crash, murders, and drug-based crime, which have led to criticisms that these incidents undermine the sense of realism achieved by the soaps' claim to represent ordinary everyday lives and situations.
Click below to view our research on ideology.
Ideology
Click below to view our research on ideology.
Ideology
Doctor who trailer analysis
Doctor who trailer analysis
Camera shots and angles
Wide zoom of the doctor facing the tardis.
Mid shot of the doctor facing saying “Ok what have you got for me this time”.
Tracking backwards of the doctor walking proudly through double doors.
Tracking backward wide shot of the doctor jumping over the fence.
Wide shot of a telephone box exploding.
Three shot with the Amy and man ducking for cover as the doctor shooting an explosion out of his weapon.
Close up of explosion from sonic screwdriver.
Three shot of the doctor looking in wonder with a female soldier and companion.
Medium shot of a cloaked woman holding two guns.
Zoom medium two shot of the doctor punching a scientist in the face.
Three shot of soldiers flashing a torch light.
Medium shot of the doctor running towards an arch way stops then looks to the right.
Group shot of the 18th century prince being threatened by three female vampires.
Close up of a mechanical clown face turns to the screen.
Two shot of the doctor attacking the dalek with a hammer.
Two shot close up of the doctor and Amy kissing.
Two shot of the companion dressed in police clothing with a man.
Mid shot of a female green alien holding a metallic gun.
Mid shot of a male green alien backing away.
Wide shot of interior tardis with sparks flying.
Close up/P.O.V of the dalek with the doctor staring at the dalek.
Close up of stone angel.
Close up of the doctor screaming “Geronimo”
Sound and music
Starts off with quite music that is slowly building up as he says “Ok what have you got for my this time”
The sound of the doors being flung open as the music swells with the sound of flutes into the fast pasted choir start singing over the majority of the trailer.
The music is cinematic to make the trailer exciting and intense
On the shot of explosion from sonic screwdriver the same sound of with the sound of flutes is heard again to make a point of the tool being used.
The sound of the swing punch is heard as the doctor punches someone in the face and again another swell of flutes in amounts the choral singing.
During Mid shot of a female green alien holding a metallic gun and the mid shot of a male green alien backing away the threatening sound of horns can be heard in the music to signify danger.
The sound of gunfire is heard and then the music is brought down so you can hear the doctor cry loudly Geronimo and despite the fact the companion is screaming she is making no sound.
The music starts up again as the character of river song falls into frame and lands on the doctor singling her importance of her character to the storyline.
On the extreme close up of the companions eyes the horns are playing again and again on an extreme close up of the doctors eyes.
The speed of the cinematic music increases to the climax where is broken by the sound of a large sound of gun fire.
Then the music is quite and creepy as the doctor says “trust me I’m the doctor” which makes the audience question whether we should trust him or not.
Editing
The editing is in sink with the music so if there is a swell in the music or dip in the sound for either sound effects or dialogue.
The editing is made up of fast paced straight cuts.
There is shot reverse shot used with the kissing scene between the doctor and the companion and the scene with the attack on the dalek showing the attack from the point of view of the dalek and a two shot of the same situation.
There are also match cuts for example the three shot of the doctor shooting sparks in the air from the sonic screwdriver then to a close up of the socnic screwdriver with the sparks flying out.
By Emma Frow
Camera shots and angles
Wide zoom of the doctor facing the tardis.
Mid shot of the doctor facing saying “Ok what have you got for me this time”.
Tracking backwards of the doctor walking proudly through double doors.
Tracking backward wide shot of the doctor jumping over the fence.
Wide shot of a telephone box exploding.
Three shot with the Amy and man ducking for cover as the doctor shooting an explosion out of his weapon.
Close up of explosion from sonic screwdriver.
Three shot of the doctor looking in wonder with a female soldier and companion.
Medium shot of a cloaked woman holding two guns.
Zoom medium two shot of the doctor punching a scientist in the face.
Three shot of soldiers flashing a torch light.
Medium shot of the doctor running towards an arch way stops then looks to the right.
Group shot of the 18th century prince being threatened by three female vampires.
Close up of a mechanical clown face turns to the screen.
Two shot of the doctor attacking the dalek with a hammer.
Two shot close up of the doctor and Amy kissing.
Two shot of the companion dressed in police clothing with a man.
Mid shot of a female green alien holding a metallic gun.
Mid shot of a male green alien backing away.
Wide shot of interior tardis with sparks flying.
Close up/P.O.V of the dalek with the doctor staring at the dalek.
Close up of stone angel.
Close up of the doctor screaming “Geronimo”
Sound and music
Starts off with quite music that is slowly building up as he says “Ok what have you got for my this time”
The sound of the doors being flung open as the music swells with the sound of flutes into the fast pasted choir start singing over the majority of the trailer.
The music is cinematic to make the trailer exciting and intense
On the shot of explosion from sonic screwdriver the same sound of with the sound of flutes is heard again to make a point of the tool being used.
The sound of the swing punch is heard as the doctor punches someone in the face and again another swell of flutes in amounts the choral singing.
During Mid shot of a female green alien holding a metallic gun and the mid shot of a male green alien backing away the threatening sound of horns can be heard in the music to signify danger.
The sound of gunfire is heard and then the music is brought down so you can hear the doctor cry loudly Geronimo and despite the fact the companion is screaming she is making no sound.
The music starts up again as the character of river song falls into frame and lands on the doctor singling her importance of her character to the storyline.
On the extreme close up of the companions eyes the horns are playing again and again on an extreme close up of the doctors eyes.
The speed of the cinematic music increases to the climax where is broken by the sound of a large sound of gun fire.
Then the music is quite and creepy as the doctor says “trust me I’m the doctor” which makes the audience question whether we should trust him or not.
Editing
The editing is in sink with the music so if there is a swell in the music or dip in the sound for either sound effects or dialogue.
The editing is made up of fast paced straight cuts.
There is shot reverse shot used with the kissing scene between the doctor and the companion and the scene with the attack on the dalek showing the attack from the point of view of the dalek and a two shot of the same situation.
There are also match cuts for example the three shot of the doctor shooting sparks in the air from the sonic screwdriver then to a close up of the socnic screwdriver with the sparks flying out.
By Emma Frow
Soaps aimed at teenagers
Soaps aimed at teenagers
Since 1990 most new Australian serials have been based on the successful Neighbours formula of forgrounding youthful attractive casts in appealing locations. The main exception to this was the Australian Broadcasting Corporation produced Something in the Air, a rural-based serial examining a range of characters in a small country town. This series ran from 2000 until 2002.
Attempts to replicate the success of daily teen-oriented serials Neighbours and Home and Away saw the creation of Echo Point (1995) and Breakers (1999) on Network Ten. None of these programs emerged as long-running successes and Neighbours and Home and Away remained the most visible and consistently successful Australian soap operas in production. In their home country they both attract respectable although not spectacular ratings. By 2004 Neighbours was regularly attracting just under a million viewers per episode [18] - low for Australian prime time television. By March 2007 Australian viewing figures for Neighbours had fallen to fewer than 700,000 a night, prompting a revamp of cast and graphics used on the show, and a deemphasis on the action oriented direction the series had moved in with a move to refocus the show on the family storylines it is traditionally known for.[19] However, Neighbours and Home and Away both continue to achieve significant ratings in the UK. This and other lucrative overseas markets, along with Australian broadcasting laws that enforce a minimum amount of local drama production for commercial television networks, help ensure that both programs remain in production. Both shows get higher total ratings in the UK than in Australia (the UK has three times Australia's population) and the UK networks make a major contribution to the production costs.
It has been suggested that with their emphasis on the younger, attractive and charismatic characters, Neighbours and Home and Away have found success in the middle ground between glamorous, fantastic US soaps with their wealthy but tragic heroes [3] and the more grim, naturalistic UK soap operas populated by older, unglamorous characters.[17] The casts of Neighbours and Home and Away are predominantly younger and more attractive than the casts of UK soaps, and without excessive wealth and glamour of the US daytime serial,[3] a middleground in which they have found their lucrative niche.
Neighbours, which is celebrated its 20th anniversary in 2005, was aired on the U.S. channel Oxygen in March 2004, however it attracted few viewers, perhaps in part because it was scheduled opposite well-established and highly-popular US soap operas such as All My Children and The Young and The Restless, and due to low ratings it was cancelled shortly afterwards.
New Australian serial headLand premiered on Channel Seven in November 2005. This new series rose from the ashes of a proposed Home and Away spinoff that was to have been produced in conjunction with the UK's Channel Five, which screens Home and Away. The spin-off idea was cancelled after Channel Five pulled out of the deal, which meant that the show could potentially screen on a rival UK channel, so Five requested that the new show developed as a stand-alone series and not feed off a series they own a stake in. The series premiered in Australia on November 15, 2005 but was not a ratings success and was cancelled January 23, 2006. The series broadcast on E4 and Channel 4 in the UK.
After losing the rights to screen Neighbours in the United Kingdom to channel five, the BBC commissioned new serial Out of the Blue which was produced in Australia, as its replacement. It began screening on BBC One on weekday afternoons on April 28, 2008 [20] but after lower than desired ratings figures, it was shifted to BBC Two from May 19, 2008 [21][22] and production on the series was not renewed beyond its first season.
http://en.wikipedia.org/wiki/Soap_opera
Since 1990 most new Australian serials have been based on the successful Neighbours formula of forgrounding youthful attractive casts in appealing locations. The main exception to this was the Australian Broadcasting Corporation produced Something in the Air, a rural-based serial examining a range of characters in a small country town. This series ran from 2000 until 2002.
Attempts to replicate the success of daily teen-oriented serials Neighbours and Home and Away saw the creation of Echo Point (1995) and Breakers (1999) on Network Ten. None of these programs emerged as long-running successes and Neighbours and Home and Away remained the most visible and consistently successful Australian soap operas in production. In their home country they both attract respectable although not spectacular ratings. By 2004 Neighbours was regularly attracting just under a million viewers per episode [18] - low for Australian prime time television. By March 2007 Australian viewing figures for Neighbours had fallen to fewer than 700,000 a night, prompting a revamp of cast and graphics used on the show, and a deemphasis on the action oriented direction the series had moved in with a move to refocus the show on the family storylines it is traditionally known for.[19] However, Neighbours and Home and Away both continue to achieve significant ratings in the UK. This and other lucrative overseas markets, along with Australian broadcasting laws that enforce a minimum amount of local drama production for commercial television networks, help ensure that both programs remain in production. Both shows get higher total ratings in the UK than in Australia (the UK has three times Australia's population) and the UK networks make a major contribution to the production costs.
It has been suggested that with their emphasis on the younger, attractive and charismatic characters, Neighbours and Home and Away have found success in the middle ground between glamorous, fantastic US soaps with their wealthy but tragic heroes [3] and the more grim, naturalistic UK soap operas populated by older, unglamorous characters.[17] The casts of Neighbours and Home and Away are predominantly younger and more attractive than the casts of UK soaps, and without excessive wealth and glamour of the US daytime serial,[3] a middleground in which they have found their lucrative niche.
Neighbours, which is celebrated its 20th anniversary in 2005, was aired on the U.S. channel Oxygen in March 2004, however it attracted few viewers, perhaps in part because it was scheduled opposite well-established and highly-popular US soap operas such as All My Children and The Young and The Restless, and due to low ratings it was cancelled shortly afterwards.
New Australian serial headLand premiered on Channel Seven in November 2005. This new series rose from the ashes of a proposed Home and Away spinoff that was to have been produced in conjunction with the UK's Channel Five, which screens Home and Away. The spin-off idea was cancelled after Channel Five pulled out of the deal, which meant that the show could potentially screen on a rival UK channel, so Five requested that the new show developed as a stand-alone series and not feed off a series they own a stake in. The series premiered in Australia on November 15, 2005 but was not a ratings success and was cancelled January 23, 2006. The series broadcast on E4 and Channel 4 in the UK.
After losing the rights to screen Neighbours in the United Kingdom to channel five, the BBC commissioned new serial Out of the Blue which was produced in Australia, as its replacement. It began screening on BBC One on weekday afternoons on April 28, 2008 [20] but after lower than desired ratings figures, it was shifted to BBC Two from May 19, 2008 [21][22] and production on the series was not renewed beyond its first season.
http://en.wikipedia.org/wiki/Soap_opera
Eastenders trailer analysis
The Eastenders trailer
Camera shots and angles
Close up two shot of Archie softly speaking to Danielle
Over the shoulder shot of her reaction he face confused
Two mid shot Danielle shouting at Archie.
Two shot of his reaction of her shouting then him walking over to her in a menacing manner.
Reverse shot of him stopping her from leaving the door
Wide panning shot across a table with champagne glasses on them in the distance Danielle can be seeing creeping though the door.
Mid shot of Danielle holding the locket round her neck.
Extreme close up of the picture of her mother Ronnie in the locket.
Close up of her putting down a name tag with the name Ronnie on it.
Wide mid shot of Danielle dangling the locket over the champagne glass.
Close up of the locket dropping into the champagne glass.
Two shot of Danielle looking round on shock and Ronnie looking confused.
Close up of Archie with a guilty look on his face.
A graphic of the BBC one logo.
Sound and music
The music starts off as a gentle sound of a music box with Archie whispering voices “The one person you can count on your granddad” after he speaks the music creates a wind blow sound to create a sinister feel.
The sound of Danielle screaming and crying “I’m part of this family ok whether she likes it or not” with the music box music subtly in the background and the sound of the door being shut is emphasised.
The music box music continues till she opens the locket the music turns scary and eerie.
The music continues subtly and the sound of the locket being dropped in to the champagne glass at the same time as a large chime in the music.
After the dropping of the locket the music changes again to the sinister blowing wind sound with the voice over of “Archie’s in control but for how much longer?”
After the voice over the well known Eastenders drum beat at the end of the trailer.
Editing
In the beginning of the trailer there is a shot reverse shot with the conversation between Archie and Danielle.
Throughout the trailer there are fades to and up from black such as the moment where Archie assures Danielle she can trust him.
Also when Archie stops Danielle from telling Ronnie the truth that she is Ronnie’s child.
The fades create a sense of fear and time passing in the trailer.
Also there are match cuts showing the movement that started in one shot and ends in the other.
Camera shots and angles
Close up two shot of Archie softly speaking to Danielle
Over the shoulder shot of her reaction he face confused
Two mid shot Danielle shouting at Archie.
Two shot of his reaction of her shouting then him walking over to her in a menacing manner.
Reverse shot of him stopping her from leaving the door
Wide panning shot across a table with champagne glasses on them in the distance Danielle can be seeing creeping though the door.
Mid shot of Danielle holding the locket round her neck.
Extreme close up of the picture of her mother Ronnie in the locket.
Close up of her putting down a name tag with the name Ronnie on it.
Wide mid shot of Danielle dangling the locket over the champagne glass.
Close up of the locket dropping into the champagne glass.
Two shot of Danielle looking round on shock and Ronnie looking confused.
Close up of Archie with a guilty look on his face.
A graphic of the BBC one logo.
Sound and music
The music starts off as a gentle sound of a music box with Archie whispering voices “The one person you can count on your granddad” after he speaks the music creates a wind blow sound to create a sinister feel.
The sound of Danielle screaming and crying “I’m part of this family ok whether she likes it or not” with the music box music subtly in the background and the sound of the door being shut is emphasised.
The music box music continues till she opens the locket the music turns scary and eerie.
The music continues subtly and the sound of the locket being dropped in to the champagne glass at the same time as a large chime in the music.
After the dropping of the locket the music changes again to the sinister blowing wind sound with the voice over of “Archie’s in control but for how much longer?”
After the voice over the well known Eastenders drum beat at the end of the trailer.
Editing
In the beginning of the trailer there is a shot reverse shot with the conversation between Archie and Danielle.
Throughout the trailer there are fades to and up from black such as the moment where Archie assures Danielle she can trust him.
Also when Archie stops Danielle from telling Ronnie the truth that she is Ronnie’s child.
The fades create a sense of fear and time passing in the trailer.
Also there are match cuts showing the movement that started in one shot and ends in the other.
Thursday, 11 February 2010
Analysis of TV guide
Click below to view the analysis.
Analysis of an older Radio Times featuring Eastenders
Analysis of Radio Times TV guide
The Titanic theme combined with a space/sci fi theme attracted me to this particular issue of Radio Times. Click below to view my analysis of this tv guide
Analysis of Smallville Trailer
To view a full analysis please click the link below.
Analysis of Smallville Trailer
Analysing Emmerdale Trailer
I analysed this trailer of Emmerdale due to the striking mis-en-scene. The trailer features clever hints as to the story behind the character featured and the visualisation and props are particularly fascinating.History of Soap
My task was to research the history of soap in order to see how soap has changed over the years in British,American and Australian soaps. One of the main changes is the role of genders. Please click the link below to view the research.
'Gossip girl' poster
- This 'Gossip girl' poster is a great example of bringing all the cast together but clearly showing the different storylines and drama
- For my ancilliary text, I analysed this poster for a creative and more interesting way to advertise our soap trailer 'Flex'
Please click the link to view my 'Gossip girl' poster analysis:
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