Textual Analysis – ‘The Kings Speech’

Within this poster bright colours filter through
into dark, representing a binary opposition
between the two colours. Bright colours
portray happiness, whereas dark colours
portray deep, hidden and mysterious issues.
The use of marketing at the top of the poster
allows the audience to identify (use and
gratification theory) with the product as of it
being a ‘best picture’. It entices a mass
audience due to it being a family product.
The colours at
the top of the
poster are
bright, enticing
the audience;
however, each
colour has its
The colour
intellect, it is
optimistic and
However, it can
also suggest
criticism and
cowardice, all
attitudes that
are liked to a
The fades of
orange at the
top of the
pessimism and
things that
some may
connote with a
king due to
them believing
the triviality
they hold.
The main
image is of a
family portrait,
this connotes
the bond they
have with one
another and
represents that
through tough
times they are
able to stay
with one. The
image is
within the rule
of thirds and
the audiences’
eye is directly
towards their
smiling faces
The product
has been rated
at a PG-13
meaning that a
wide range of
people are able
to watch the
young children
with the
consent of a
parental figure.
The most
character has
represented as
the male figure,
due to him
being central
within the
poster and,
being of a
bigger bulk
than the
However, this
is conventional
of that time
due to men
having a higher
role than
The product is based on a true story
meaning that people will not only
use the product for entertainment,
they will also being using it for
education and factual reasons (uses
and gratification theory).
The typography has
been portrayed in
white representing
innocence and purity
connoting that the
speech was pure.
Dyer star
theory due
to the
actors that
play in the
Textual Analysis – ‘The Kings Speech’
‘The king’s speech’ is not a war time product; however, it was based around the war. ‘The king’s
speech’ interprets the emotions and love needed to come across within our product ‘venture’, it
interprets the drama aspect of family and love appropriately and, therefore, I will be critically
analysing this product to enable us as a group to stay within the specific codes and conventions.
The mise-en-scene is very significant in any type of product as it
allows the audience to identify with the era or time period that the
product is centred on (uses and gratification theory). The very top of
the poster starts off with bright and bold colours, used to pull the
audience in due to the colours, as they stand
out. Orange is a colour of various meanings;
however, the most common connotation is
that orange represents doubt and superficiality, aspects that could be
portrayed with the king. Furthermore, the colour yellow portrays
cheerfulness and intellect, however, it has the binary opposition of
impatience and cowardice attitude, feelings that most have towards
the war. Additionally, the poster holds a great amount of binary
oppositions, most done with the colours used, for example, the
colours filter through the poster pushing from lightness all the way
through to darkness representing a potential narrative that things
will begin off well and will go downhill from then onwards, portraying
a possible equilibrium within the narrative and further an enigma to
the audience of what will happen.

The chandelier represented within the background signifies the importance
that this family hold, chandeliers portray success, pleasure and luxury, all
things associated with a king. Additionally, this has been further
interpreted by the use of custom; all characters are
wearing customs of a sophisticated fashion, further
representing the significance of the characters. The
colours used are very important in portraying an image to the audience;
for example, the main character is evidently the male, due to him being
centred within the image and further within the rule
of thirds at eye level to the audience. However, he
has been portrayed as the potential villain (8 props
characters) due to the dark and shady colours used
within his custom, moreover, the white enforces a binary opposition to the
dark shady colours as white portrays purity and
innocence, connoting the character to be both good
and bad. The colour silver connotes femininity,
sophistication and gracefulness, each and everything
that needs to be represented with the ‘kings’ wife due
to the stereotypical connotation. Furthermore, the young child is connoted
wearing a pale orange dress, this portrays the innocence she has as a child
due to the paleness of the dress, further represented through her hugging
her father loving, which is a stereotypical connotation to children of that
Textual Analysis – ‘The Kings Speech’
age as they represent a loving and emotional nature. The young
girl could be used in order to gain a mass audience as of the
appeal to young children, connoting the film to be a family
orientated production as of the family together. This is something
that we would like to incorporate within our poster as our
product ‘venture’ centres around family bonds. Additionally, the
depth of the colour on the child’s dress reinforces the deepness of
the war and the extent of the emotions upheld by the war.
Furthermore, the poster has a various amount of marketing methods in order to gain a mass
audience, for instance, the use of having the amount of award
winning best picture on the poster entices the audience to want
to watch the product, as the review represents how god the
production is. Moreover, the dyer
star theory is clearly evident, this
further entices the audience as they may want to watch the
product due to their favourite actors/actresses or directors and
producers are presented within the product. England is very
historic as not many countries have a king or a queen, various
countries represent an interest
within the royal family and due to
this the product instantly produces a mass audience as of the title
using the use of the word ‘king’. This product will, therefore,
appeal to a mass audience, more so due to the certification being
rated at a PG-13 appealing to a wide range of people.
The layout of any poster holds great significant is telling a narrative as the human eye follows
statistically through visual products. For example, the main image is of the family, represented
within the rule of thirds, this allows the audience to identify (uses
and gratification theory) with the belief that the product will hold a
great amount of drama, due to the stereotypical connotations of
families with children. Moreover, the typography has been centred
towards the bottom of the page, however, still within the rule of
thirds in order for the audience to be drawn to it. The typography is
bold and although is smaller than the text, still dominates it due to
the harshness of the white contrasting the dark black, further,
representing an equilibrium. The text to some extent is more
proportionally significant than the image, due to the text being
represented round the poster evenly. The majority of the text is
more evidently for marketing reasons as audiences want to watch
what is best out, due to it being greatly publicised. The layout of the poster allows the audiences
eye to filter through and enables them to look within the entire poster, creating an enigma as
they wonder the potential narrative of the product.
The drama convention has been greatly explored within this poster due to the family concept,
which is stereotypically conventional to the drama convention as of the emotional content that
families uphold through the love and care they have for one another. Moreover, this has been
Textual Analysis – ‘The Kings Speech’
evidently portrayed through the use of having the family as the main image and centred within
the rule of thirds.
Conclusively, although the product was not a war time period time, it was based around the war
and holds the conventions needed to portray a family/ drama production. Each element
represented within the poster will come into ours, for example, the way in which the family
have been portrayed in a loving manner to one another.