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St. Paul’s Catholic College
Center Number: 64770
Candidate Number: 6627
Candidate Name: Nikita Da Silva
A2 Media Studies
Unit G324: Advanced Portfolio in Media –
Production Log
Evidence of Planning & Research

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Aims and Objectives
 AO2 – Assess candidates’ application of knowledge and
understanding in evaluating their own work, showing
how meanings and responses are created.
 AO3 – Assess candidates’ ability to plan and construct
media products using appropriate technical and creative
skills.
 AO4 – Assess candidates’ ability to undertake, apply and
present appropriate research.
Brief Chosen
A 45 second – 1 minute 30 second trailer for a NEW Soap Opera
that will be exhibited on at 8:30pm (after Eastenders)
that will appeal to a Male and Female audience.

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Contents
Textual Analysis
 Eastenders
- Soap Opera Codes & Conventions
- Multi Strand Narrative
 Coronation Street
“..the home, the family, domestic tribulations and the strong woman, and as
such, it has long been said to appeal to the female viewer”
‘Masculinity and Popular television’ – Rebecca Feasey (2007)
Research
 Purpose of a Trailer
 Multi-Platform promotion
 Textual Analysis – Coronation Street and Hollyoaks
Production Work
 Director – Roles and responsibilities?
 Producer – Roles and responsibilities?
 Institution research - BBC 2

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SoapOpera codes and conventions
1) What are some of the Codes & Conventions of this genre?
The Soap Operagenre can be categorizedby the ‘repeated’
(Steve Neale) elements of:
1. Love
2. Conflict
3. Secrets
4. Disasters (e.g. fire, car crash)
Sense of community/everyone
knows each other e.g. pubs or cafes
Multi-stranded
narrative
Different ethnic
backgrounds
Usually set in
rural areas
Strong women
Quite
stereotypical
e.g. Indians
owning a
corner shop
(radical
stereotypes)
Can
‘personally
relate’ (Katz)
to situations
and
characters
Brand identity: theme
tune, ident
(Propps) hero, villain,
protagonists and
antagonists
Largely target a female
audience – “gossip” and
storylines
Typical storylines
e.g. love, conflict,
secrets
Cliffhangers

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5. Death
6. Focus on workingclass communities
7. Strong regional identity
8. Cliffhangers
Eastenders (1985 – Present)
Key informationregarding this text:
 BBC duringprimetime(7-11)
 Kitchen sink realism (familiar setting of workingclass)
 Over 20 million peopleturned into 50th anniversary of Eastenders. On
average they have a viewership of 10-15 million
Textual Analysis Task
In my opinion, accordingto Hartley’s Seven Subjectivities, the target
audiencefor Eastenders is…
Age 18-60
Gender Female
Nationality British

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Trailer 1) the week of revelations – Eastenders 2015
What is the Focus of this trailer?
This trailer focuses on the death of Lucy Beale and the lead up to the big reveal of
who murdered her.
Code
&
Convention
Evidence
(Verbal, Non-Verbal,
Technical)
Impact on the Audience
(Katz, Maslow, Hartley)
Romance
Jane and Ian work together in the
fish and chip shop. The non-verbal
codes of Mise-en-scene. Jane
stands out and make up shows her
to be the temptress, for male gaze
(Mulvey)
In accordance with Maslow’s hierarchy
Jane and Ian working together meets
the love and belonging section as it
shows importance of family.
Family
relationships
and/or conflict
The Beale family all together in
the fish and chip shop.
Maslow’s survivors will want
reassurance that the family is okay and
that conflict will be resolved. In
accordance to Hartley’s 7 subjectivities
this will attract families of a working
class.
Focus on
working class
communities
The non-verbal code of mise-en-
scene at the end shows all the
characters gather together in the
square as a community. The
technical codes of a long shot at a
high angle looking over the square
sets a sense of community as they
all gather together over this
horrific incidence.
Through Katz ‘personal identification’,
the audience recognizes areas as ones
they would visit. In accordance with
Harley 7 subjectivities this will attract
those of a middle class.
“Multi-Stranded
Narrative”
The technical code of cross-cuts to
different scenes with different
characters, signifies them to be
suspects to as who murdered Lucy
Beale and therefore build the
audiences anticipation and keeps
the guess - cliffhanger
This allows the audience to create
“personal relationships” (Katz) with
various different characters and can
“relate” to current affaires
‘Disequilibrium’
(Todorov)
The verbal code of non-diegetic
sound in the background signifies
(Desassure) shows that there is
mystery. The technical code of
CGI edits of hands being dragged
down condensed windows gives a
scary sense and this thrill will
entice its audience
This creates a sense of thrill amongst
the audience and therefore creating a
“diversion” (Katz) from their everyday
lives.

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Trailer 2) CoronationStreet - Tram Crash - Promo
What is the Focus of this trailer?
This trailer focuses around the events of a train crash which is going to happen and
therefore signifies that the happy and joyful life which is presented through the
trailer is about to come to an end (someone’s death in the near future).
Code
&
Convention
Evidence
(Verbal, Non-Verbal,
Technical)
Impact on the Audience
(Katz, Maslow, Hartley)
Romance
The non-verbal code of
mise-en-scene focuses on
Tina and her boyfriend
kissing, which shows a
sign of love.
The verbal code of non-
diegetic soundtrack is
parallel to the scenes that
show joy and love among
characters. However, is
contrapuntal to the focus
of the trailer in that their
happy lives are about to
change as there is going
to be disequilibrium
(Todorov).
In accordance with Maslow’s Hierarchy this
meets the love and belonging section, as people
will identify this with their own lives and the
ones they love. This will especially appeal to
those of a younger age and young adults with
the focus on relationships.
Family
relationships
and/or conflict
mise-en-scene focuses on
a father playing about
with his son, to signify
(De sassure) the
importance of a family
bond. Moreover, the
technical code of a close
up of the little boys
happy facial expression
focus on the happy family
life.
In accordance with Hartley’s 7 subjectivities,
this will portray family in a positive light
showing their care for one another and so
families will relate (Katz) to. This meets the
safety section on Maslow’s Hierarchy as the
audience can relate (Katz) to how they wish for
security of the family.
Focus on
working class
communities
mise-en-scene shows all
the characters walking
down the same street
smiling to one another
signifies (De Sassure) a
sense of community. In
addition, a shot showing
a corner shop and pub
represents working life.
In accordance with Hartley’s 7 subjectivities
this will appeal to a working class community as
the audience will personally identify (Katz) with
the character and the situation that they are in.
“Multi-Stranded
Narrative”
The technical code of cuts
to different scenes
This focuses on scenes with different characters
to signify different perspectives and signify

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signifies them as a
community and what is
about to happen will
affect all their lives.
happy life in the town – which they don’t know
is coming to an end. This will create a diversion
(Katz) from everyday life as the audience
becomes more immersed in the story.
‘Disequilibrium’
(Todorov)
The technical code of
jump cuts to scenes at a
fire station, signify that
there is an emergency
and therefore a dramatic
accident is to take place.
costume is used showing
a person changing into a
firemen’s outfit to show
that there has been an
accident. The verbal code
of diegetic sound of
sirens and rushing is
used in order to show
that there has been a
tragic accident.
In accordance with Maslow’s Hierarchy,
caregivers will want to be assured who is going
to be harmed in the accident and to be sure they
will be all right and will feel sorry for what they
are to go through.
Multi-stranded narrative
A Multi-stranded narrative can be defined as…..
 Different storylines, which link together to create a single story line
 Telling a story from more than one persons point of view
I deconstructed a 10-minute extract from Eastenders and identified where the
following elements are presented to the audience:
 Multi-stranded narrative
 Family relationships and/or conflict
 Focus on working class communities
 ‘Disequilibrium’ (Todorov)
 Romance
Code & Convention Evidence Impact on the audience
 Multi-stranded
narrative
The technical code of cross-
cuts to different scenes or
storylines
In accordance with Katz’ the
audience can personally
identify with the different
scenarios and issues
 Family
relationships
and/or conflict
Conflict shown between the
Masoods
In accordance with
Maslow’s Hierarchy and
Hartley’s 7 subjectivities it
focuses on issues raised
within the family in which
the audience can personally
relate to (Katz)

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 Focus on working
class communities
The closing up of the
surgery relates to health
issues
This will therefore inform
and educate (Katz) to
matters raised in society
today
Disequilibrium’ (Todorov) Every storyline represents
an element and a lead up to
disequilibrium (todorov)
In accordance with
Maslow’s Hierarchy this will
appeal to caregivers who
will want to ensure they are
 Romance Kush getting married This will allow the audience
to personally identify (Katz)
with these storylines
According to Rebecca Feasey in ‘Masculinity and Popular television’ (2007), the Soap
Opera genre tends to focus on:
“The home, the family, domestic tribulations and the strong women, and as such, it
has long been said to appeal to the female viewer”
Within soap operas the ideology of the ‘strong women’ is shown through the continuous
problems female characters may face and how they get through this shows their will
power and emotional strength. In Eastenders the various characters that represent this
are of different ethnicities and ages which allows the audience to relate (Katz) to many
characters and the situations they are in and so therefore appealing to
a broad target audience, which has evidently boosted their viewing
figures.
http://www.youtube.com/watch?v=F8_ApPT6isY
I deconstructed the opening 5 minutes of a sequence from the popular ITV Soap
Opera Coronation Street (1960 – Present) to identify examples of where this
ideology is presented to the target audience.
Family
 The multi-stranded narrative focused on the loss of family or the break up of family
 Family unity is displayed when Jason showed support to his mother and her friend
Domestic tribulations
For example: Lola is an example of a ‘strong women’ who represents single mothers of
todays society which some of the young female target audience can relate (Katz)to.

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 Shown through arguing between Carla and Leanne
 Simon is shown running away from Leanne at the beginning to signify (Desassure)
he is running away from some sort of conflict
Strong women
 Carla ordered Roy to leave before having a drink showing that she has dominance
and is able to control what he does
 Women always breaking the news shows their strength mentally
 A female doctor signifies (Desassure) as having strong roles within society and jobs
Jean Baudrillard’s theory on how soapoperas are changing
According to Baudrillard, the real and the stimulated are no longer distinguishable. He argues that
in our media age, images of reality and reality itself interact so much so that they have become
interchangeable.
Youcan think of this as like a mirror that reflects an image fromanother mirror so much that the
original image can no longer be identified. Baudrillard calls the outcomeof this endless interaction
hyper-reality, suggests in this 1983 booksimulations that we are fascinated by the “thrill of the
real”, particularly because in his view “reality” has imploded withsimulation.
There are certainly limits to the application of the postmodern theory, but it might help us
understand why traditional twentieth century soaps are watching their audiences dwindle. Yes,
with more women in the labour force fewerare at home during the day to watchtelevision. And as
women have more opportunities outside of the home they might find their lives less mundane and
therefore would be less interested in the melodrama.
How does Baudrillards’ theory tie in with the modern brand of soap operas?
Traditional soap operas use elements of reality in order to attract an audience so they can
relate (Katz) to issues conveyed in the trailer. This theory suggests that modern soap
operas mirror this. In my soap opera I will try to develop on this and challenge this theory
by appealing to young women who’s traditional place used to be in the home, by relating it
to current issues that women may experience within zeitgeist (Wendy Helsby) today. This
displays that the division between reality simulations has collapsed as ‘real’ is not there
now as Soap operas aimed to attract people by enabling them to relate to the audience and
so the reputation these issues create become hard to distinguish from the reality of the
issue.
1) What is the purpose of a trailer?
The purpose of a trailer is to entice its specific target audience through fulfilling
their needs. This is done through showing them selected shots of the soap to get an
insight and captivate them so that they are persuaded to watch the series.
2) What are the benefits of Multi-Platform promotion of a media text?
 This enables a greater reach to a wider audience base through convergence, as it is
more easily accessible across different platforms such as smartphones, laptops,
tablets etc.

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 This can then increase the success of a product as it will increase viewing figures
and popularity, which results in more profit and future opportunities for the
company
Ultimately, some form of convergence is important when promoting a text to the
target audience. Trailers exhibited on:
 Broadcast- (television/film)
 E-media- (internet/websites)
http://www.channel4.com/programmes/hollyoaks/4od
1. What are the connotations ofthe ident for the popular Channel
Four Teen SoapOpera Hollyoaks (1995 – Present)?
 The female and male gender symbols represent that the soap is focused on
relationships, whichappeals to a younger target audience. This therefore indicates
that they may explore themes such as teenage pregnancies, homosexuality, and
sexual abuse and many others. This appeals to a younger target audience as they
can relate (Katz)to these issues.
 The colour pink connotes feminism and the colour blue connotes masculinity,
representing that this soap appeals to a young male and female audience.
Hollyoaks – “White Wedding Trailer” - http://www.youtube.com/watch?v=Bu2sW-
r9Vb4
BINARY OPPOSITION OF THE NON-DIEGETIC MUSIC
 The lyrics represent binary opposition (Levi Strauss) to what the trailer
shows. The lyrics “it’s a nice day for white wedding” is in contrast with the
scenes of the video as the bride, groom, priest and guests are all dressed in
black which is the opposite colour of black. This therefore signifies death or
danger instead of marriage being a new start or a clean slate.
SYMBOLISM OF THE NON-VERBAL CODE OF THE TEAR
 This signifies that the bride is upset and unhappy – suggesting she does not
want to get married
 The technical code of a close –up is used to show mascara running down her
face to signify disequilibrium (Todorov)
REPRESENTATION OF PREGNANCY
 The shocked expressions on the guests faces show that it was an unexpected
turn of events and this will change their lives
 The technical code of a close up showing her hand on the bump signifies that
she is protective over the baby

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Production Work
1) What is the role ofa Producer?
To oversee all aspects of the production acrossthe 3 stages – manage
everyoneand ensureeverythingis in order for the text to look fit for
purpose. They ensuremanagementof the hiring of actors and
maintainingthe schedule.
2) What is the role ofa Director?
To oversee the creative aspects of the production. Takesthe role of
directing peoplein from and behind the camera, to ensurethe crew
and cast work effectively together in creating the image the director
visualizes.
3) Institutionresearch –
 It was launched to deliver content that isn’t so mainstream such as arts, film,
comedy and documentaries
 It was created to fulfill the BBC needs to provide minority interest
entertainment and educational programs
 Highest audience figures reached 6.92 million for Top Gun (SUN 2003)
 Has 2,740 + total programs
 Programs resume at 4:00
 Broadcasts are more ‘high brow’ (intellectual) programs
 Naturally to an older audience

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Production log (Date of upload 20/10/2015)

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