The Coronation Street trailer in comparison to the Eastenders one seems far different when paralleled. The BBC used a variety of the key characters from that storylines quotes’ and placed them together to create a form of montage. However, the ITV’s interpretation of a soap trailer features previously unseen footage as well as a non-diegetic soundtrack; this is vastly significant due to both programmes belonging to the same genre and featuring similar storylines and character builds as opposed to something like Hollyoaks.
Sound is a key part in the Coronation Street trailer. A consistent, upbeat and fast tempo track behind the characters diegetic dialogue helps to heighten both the suspense/fear felt by audience and characters alike. The fact that it doesn’t change until it seizes at the end insinuates that the audience do not know what is about to come – the feeling of mystery and the unknown which excites contemporary audiences as much as audiences of previous era’s who used other forms of Media to read about drama or story characters going through the same thing as themselves.
Perhaps the most chilling part of the trailer comes when someone states: “they don’t think he’s around here, so there’s no need to worry” this is closely followed by a Police Officer stating that people should “be vigilant”. This dramatic Irony is a technique that has been used for years, exciting viewers in a way in which they know something most of the characters within do not. We begin to feel sympathetic and more involved.
The antagonist Tony can be seen walking through the street throughout the 30 second trailer with no one noticing, namely due to the attire he is dressed in. A hoodie helps to hide his face on the street so he can arrive at his final destination which is revealed at the end of the trailer – the factory. Even more intriguing is why the soaps directors chose Tony to be wearing this. Hoodies are often stereotyped to teenage yobs who intend on nothing but to be a menace within society. With the shows viewers holding these prejudices it’s elevating the distaste already felt towards the antagonist.
When comparing the majority of the trailer towards the end, there’s definitely a major difference in the level of cynicism. Whilst we do get the idea he is a dangerous man on the loose, nothing can prepare the viewer for his words of: “Hello ladies, I’m going to kill you. And I’m going to enjoy it”. All of this is furthermore said with a smirk on his face. Cornoation Street’s trailer is all about building up fear and tension which it certainly does in a short space of time. Even people who do not regularly view the show could grasp the storyline and be intrigued enough to view. Eastenders, on the other-hand attempts to target current viewers and remind the audience about the characters personalities and the traits they have.
Kat and Alfie Trailer - Eastenders - BBC 1
Shot with the intention of forming a satirical view of two very diverse stock characters (Kat, and Alfie Moon) the Eastenders trailer immerses them within an environment, whose mise en scene is laired with stereotypical Wild West traits. Even the occasional camera shot such as when Patrick is sat in what we presume to be a rocking chair viewing a ‘stand off’ between both Kat and Alfie yields both intercontextuality and indexical references to many Western movie classics such as Once Upon A Time In The West and The Good, The Bad, And The Ugly.
The trailers initial long shot establishes the soaps cult classic rendezvous point of ‘The Queen Vic’ with a sand storm overlay and discarded newspaper; somewhat modernizing yet also humouring the stereotypical view of London’s streets. For a good duration of the trailer, a figure remains incognito with shots being limited to the feet and behind the slats of a blind – an element of mystery and suspense is a key part in ensuring the survival of soaps, and their viewing figures in particular.
The music, at first, is ambiguous; even somewhat reminiscent of a psycho-horror movie melody. However, it gradually transitions into non-diegetic sound that most of us associate with how the mainstream Media portrays Wild-West culture, extremely tense and atmospheric.
In comparison to general Eastenders episodes the quality is far superior and flashy, to appear more movie-esque to their audience. You could even somewhat stretch to say that this creates a hyperbolic effect in regards to the serious nature of Kat and Alfie’s return to Walford and how the core foundations of other characters are, as a result, going to be shocked to the core.
One particularly interesting event happens when Janine and Pat joking in the street become aware of Kat’s presence. A clear juxtaposition occurs in how Janine’s ‘sovereign’ persona wilts due to the ‘Queen’ of Walford returning. This in fact backs-up my point made in the previous paragraph about how the return of the two characters is going to affect the soap.
Finally, the last few shots of the trailer contain sound parallels that match the action on screen (a quick succession of extreme-eye close-ups) this clever technique implores the audience to be captivated, and want to watch the show for more as they question ‘What are the real reasons for the return of Kat and Alfie Moon.
What does Eastenders show us about soaps and Britain in the 1980’s?
(Episode 4)
Arguably Soap Opera’s most iconic show, Eastenders displays clear contrasts in how T.V. shows were produced back in the 80’s compared to the vastly high budgeted episodes of today. Stark differences can often be seen in regards to Britain and the socio-economic turmoil’s faced in an era of deep recession and a government of mixed reception.
From the episodes initial opening minutes one of the shows iconic personalities can be seen asking his mate to ‘lend him a quid’, to which he receives a reply of ‘you’re skint, I’m skint; it’s a way of life, init?’ The converse between both characters helps to define a clear theme for the episode – economy. Viewers at home would easily be able to relate to both characters and would take deep interest in being able to view how they overcome and handle their problems (in a time before shows’ such as The Hills and Big Brother).
The show, however, also features another underlying theme, 1980 saw an emergence of pop culture mainly centred on London – the setting for Eastenders. This perhaps explains some of the characters’ clothing within the show – leather jackets and how it’s an accurate representation of real life at the time of filming.
Camera angles are both simple and consistent. Over the shoulder shots are used to be more personal and place the audience in the character’s shoes and see from their point of view. A café portion featuring three characters uses just a mixture of midshots and close-ups for what is to be considered a key and vital scene to the plot. Audiences of the time would only have four channels of terrestrial T.V. to choose from; therefore meaning that expectations were much lower than today; as well as the fact technology was far less advanced.
Didn’t Eastenders however somewhat lose touch with the problems its’ audience faced? It’s unlikely that in a time of such hardship viewers would be able to afford consistent visits and ventures to the café. A centre point to the show similar to that of Emmerdale Farm’s Woolpack, utilization of character’s homes would have been far more effective in showing a fair representation of 1980’s Britain.
Women are equally portrayed in two different lights. Den’s wife, Sharon, can be seen as a stereotypical mould of a women’s traditional ‘sphere of work’. She is seen to be running the house and insuring that each member of the family is well fed before going out to start their day. Another women, however is shown to be asking for her independence and for her husband to allow her to wash her own dishes – something she cares very strongly about as she is later seen storming upstairs in anger and frustration.
In conclusion Britain in the 80’s is on the whole represented quite fairly on Eastenders. The soap mirrors many real life issues faced by the majority of their demographic and allows people to view how the protagonists view and challenge their problems. Early soap’s such as Eastenders have helped to shape the life we live today and acknowledge similarities and differences between each new decade.
