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Textual Analysis – Hollyoaks Trailer The trailer showing the Hollyoaks ‘Six Weeks of summer’ portrays many typical

trailer conventions which I will discuss and the effects they have upon the viewer. Firstly, the scenes props and settings (Mise En Scene) used throughout the trailer were present for many different reasons, including connoting different emotions or setting the scene. The first scene shows a woman wearing red lipstick and shoes, immediately connoting danger towards the audience. As well as this the following shots in sequence have a red tint/overlay to again continue the sense of danger. This convention is used within the trailer to hook in the audience by letting them know that danger is inevitable but it doesn’t give away too much detail. Throughout the trailer the sense of a Melodrama was represented through the use of semi-realistic scenes and settings. An example of this was the scene by the canal; this scene is based in a realistic setting but has been slightly enhanced through the use of lighting and camera effects, firstly an unnatural light source has been placed behind the camera is enhance certain features of the setting and characters. This convention creates a sense of escapism and attracts the viewer as they want to be part of an idyllic world. A stereotypical convention used throughout the trailer is the method used to portray the villains/evil characters, this has been portrayed through the use of darker/black clothing worn and an overpowering/threatening personality, allowing the audience to easily identify the characters and understand the plot without having to explain in too much detail. During the trailer the use of cinematography and camerawork was applied to generate emotions throughout the trailer. The opening shot is a clo se up of a woman’s’ face, this close up shot allows the audience to see the emotion and feelings of the character to promote realism. The close up shot promotes realism as it portrays realistic feelings and emotions used by ordinary people. The following sequence including a ‘shot reverse shot’ and an ‘over the shoulder’ shot again promotes the idea of relationships being involved throughout the trailer. The next camerawork convention used in the trailer was the sharp movement and panning in the car, this implies speed to the audience whilst simultaneously exaggerating the sense of danger towards the audience to enhance the feeling of chaos. A range of shot types (full and low angle) were used during the crash scene to show the audience the detail of the scene whilst also making them feel as though they were involved in the scenario. The use of editing was applied in many various situations to promote the sense of overdramatic and idyllic situations. Straight cuts and non-linear sequencing were used to promote a large amount of the series in a short amount of time. On both the opening and closing credits the text has a red trim; this effect continues on from the theme of danger from the beginning of the trailer. The credits also fade in from white which again enhance melodrama, again showing the

more ‘un-realistic’ side to the trailer/genre of soap. The white fade could resemble dreams and/or flashbacks which are not usually featured in realism soaps. All the way through the trailer there was an up tempo, rapid beat soundtrack being played on top of all dialogue and diegetic sounds. This soundtrack could have represented either a fast beating heart or a ticking clock, both of these representations connote danger and tension which hooks and attracts the audience. Dialogue is used in the trailer to create a sense of realism “love” and “hate” are used in the same scene to promote the use of binary oppositions. During the car scene the normal diegetic sounds have been enhanced and exaggerated to increase drama and tension making it slightly unreal. This trailer uses a combination of more than one Narrative Theories including Propp’s clear character roles and Strauss’s binary oppositions.