The two opening title sequences of Coronation Street and Hollyoaks are vastly different in style, with both promoting the audience they aim to attract and the pace of life within the soap through Mise-en scene, music, camera techniques and editing techniques. These help the audience to place the soap within reality.
Coronation street uses slow swing-esque music that is reminiscent of Northern band music, which compliments the slow pace of the title sequence and soap, as well as highlighting the maturity of its characters. This style of music was founded where Coronation Street is based, and has been part of the kitchen sink drama since its first airing in 1960. This gives it a sense of continuity and reassures loyal viewers that although characters may have changed during the 49 years, it still holds the same values. This theme music contrasts to Hollyoaks which uses modern, guitar based music to reflect the fast pace of life and the youthfulness of the characters. The song was written by Steve Wright (who coincidentally also composed the music for Brookside and Grange Hill) and replaced the decade old theme tune that connoted drama instead of the sexual and youthful nature the soap now possesses.
The Mise-en Scene of Coronation Street displays a natural Northern mining town setting. It’s red brick terrace houses, iron bridges and dated pubs and shops give the it the appearance of an everyday town that has not conformed to modernity helping the audience to understand the social realism of the characters involved. This sequence was introduced in 2002 and features high angle shots of the settings and streets involved, as well as zooming out slowly on certain features. This displays the set, and creates a sense of realism for the audience, who know that it is filmed in a real place, rather than being filmed in three walled sets in a studio. The Mise-en Scene of Coronation Street however is the antithesis of Hollyoaks, which presents the youthful characters of the soap instead of the setting. The sequence begins with an eye opening, beckoning the the audience to look at events through a youthful view point: Hollyoaks. All characters are shown within the thirty second opening sequence, parading each personality for the audience to see straight away. The character’s actions seem to depend on their gender. The males that are shown are either straight faced, smiling or taking part in some activity of sorts, for example boxing with the camera or playing air guitar. The girls included in the sequence are predominantly scandalously clothed and often pouting. The harsh reality of the implications this brings is the passive sexual use of females within the soap and that their role is solely to attract the male audience. The camera movements are fast and include zooming in and out of characters as well as panning and tracking them. This adds speed to the sequence and again reflects the fast pace of life within the soap. This introduction has been adapted to characters over the last four years (since being introduced) and has been altered regularly to accommodate new characters and discard others.
The editing techniques of each introduction reflect the lifestyles of their respective soap. Coronation Street uses slow paced, cross-fading transitions between shots, which implies a lazy and slow lifestyle. Hollyoaks on the contrary, uses experimental and fast transitions that highlight the youthfulness of the cast. These transitions go through objects and even body parts as they zoom in and out of each character to the next. This allows a flowing and fast introduction to the soap.
The credits and the title is different in each soap, again underlining the dissimilarities between each. Coronation street straight away gives its title on one of the surfaces, using its archaic street sign font that has been present through the years. It continues to credit those involved in writing, producing and directing it in the same font. Hollyoaks is more experimental; first showing it’s name in the eye of one of the characters and again at the end of the introduction, however this time in blue and pink with masculine and feminine symbols that connote the sexuality of the soap. The sequence lacks the credits of those who make it, and instead presents them when the action begins.
The Micro and Macro Analysis of Max's Death (Hollyoaks)
The scene of Max’s death uses many micro aspects to conjure macro implications. The scene includes varying; camera angles, shot types, editing techniques, lighting and sound to create an emotionally driven end to an episode.
The scene begins and the first aspect that is noticed is the non-diegetic music. The music comprises of fast paced changes of notes in succession, which is dramatic on its own yet when it is coupled with samples of heart rate monitors (which give it a medical feel and link it to other drama sub-genres) there is predetermination that something is going to go wrong. The action begins straight away, with the young boy Tom running onto the road to fetch his fallen action man. The lighting is rosy with lush greens of the grasses beside him and the red of his action man (though this could also also imply danger). This lighting is reminiscent to the innocence of his character. There are quick shot transitions to other main characters; Niall who looks sinister as he sits in his car laden in dark clothes as well as Max and O’Brien who quickly notice that the boy is vulnerable on the road; these facial close ups allowing the characters to unveil their expressions of anxiety. Max runs over to Tom with the level camera unsteady, indicating that he is rushing to him. The audience presume the next installment of action is about to unfold when Max screams Tom’s name and the diegetic sounds of a Niall’s car revving and it’s tyres screeching are heard as it speeds around the corner. With these sounds adding to the ever present bleeps of the repetitive heart monitor a wall of tension is built. After many medium length shot reverse shots of Max’s view of Tom and Tom’s view of Max that dart between each other, the older character reaches Tom and pushes him onto the grass to the side of the road for safety filmed with a long shot. The editing techniques and transitions between shots are fluent and help to keep the scene flowing and the variety of fast paced shots are used to emphasise the chaos and build tension.
With a blunt and unforgiving shot that displays the reality of real life accidents, Max stays too long on the road and is hit by Niall’s car. This is shown almost through O’Brien’s eyes which adds to the realistic feel. There is a momentary pause as the camera zooms into his expression as O’Brien calculates what has happened to his best friend and the scene is thrown into slow motion. The shot switches to one of Tom’s action man falling to the ground. The toy is personified, predetermining the fall of his real life hero, Max. The cliche slow motion aspects of the scene lengthen the time span of the accident and heighten the tragedy and emotions felt by other characters. It also slows down the pace the scene was previously progressing at and is the opposite of the speed the car was traveling. O’Brien runs over to his best friend whilst Niall is seen being metaphorically framed as the camera, from a birds eye view through the sunroof, displays Niall getting out of his car. This highlights that he is the villainous character and has done wrong, although nobody realises the incident was purposeful and instead those around rush to his side.
As the action subsides the implications take place, including the character’s reactions. Gender stereotypes are represented here through their reactions of Max’s death. O’Brien takes charge immediately and conforms to the dominant male stereotype of being strong by rushing over to Max first and holding him in his arms. His dialogue consists mainly of; “don’t worry, you’ll be ok”, “It’s not as bad as it looks” and “Call an ambulance, now!” supporting the fact that he is positive. The two men are likened as they are wearing practically the same suits and this supports the fact they are both strong male characters and the fact they are best friends. The two men share words whilst the camera uses the 180 degree rule to ensure the conversation flows. O’Brien helps to interject a slight aspect of humour into the proceedings by saying; “don’t be gay!” when Max declares his love for his friend. This helps to reinforce his manly stereotype and humorous personality. Tom’s reaction is what you would expect from a boy of his age. The close up of his face shows that he is confused and upset yet not hysterical, connoting that one day he could be a strong dominant male just like O’Brien or his brother was. His dialogue is simple yet heartfelt; “Wake up Max!”, and without him the scene may not have been so effective. Stephs entrance to the is delayed at first, implying that she too, like O’Brien, has to calculate what has happened. Her white dress gives her the appearance of an angel and when she quickly runs to the side of Max she conforms to the stereotype of the neurotic female character. Her loud grieving indicates that she needs support from one of the male characters. The composition and choreography of the characters when Tom and Steph join O’Brien and Max is interesting and can help the audience to establish characters roles within the drama. O’Brien’s head is always held higher than the other two characters’ and this displays his control on the situation once more. Steph and Tom are seen either with their heads resting on Max or looking up to O’Brien for support, showing that they need support from a strong male character. Steph’s wedding dress frames the characters Tom, O’Brien and Max. This may suggest that she is a motherly figure or that she is an important character.
All the action here is coupled with non-diegetic music, an aspect which is very important. The music merges from the chaotic tension building music when the accident takes place and is replaced by a heavenly choral piece which adds to implication of Max floating up to heaven and accompanies the slow pace. As the scene progresses the music eventually encompasses the exclamations of grief from the characters, which intensifies the emotion. It may also imply that Max can no longer hear the cries from his family and friends, affirming that he is dead. As the scene ends the camera zooms out and rotates away from Max’s body, this could indicate an outer-body experience, signifying Max floating upwards to heaven. It may also connote Max looking down upon the scene of the crime, as it is a birds eye shot. Before the camera hight reaches its peak and tilts upwards the four faultless characters; Max, O’Brien, Tom and Steph can be seen in their same positions as they surround Max’s body whilst Niall sits with his back turned to them a distance away. Niall’s dark coloured clothes contrasts with Steph’s white dress and highlights their dissimilarity; the devil and the angel. All of these elements signify a peaceful and calm death and the chaos that has previously occurred is completely forgotten about as the audience witness the camera tilting upwards towards the sunlight scattering through the lush green leaves and finally to total whiteness. This editing signifies that Max has successfully reached heaven and the audience are no longer ill at ease by where Max rests.
The white screen and fades to a camcorder shot with the heavenly music continuing still from the previous scene. The shot shows Max being asked “what is love?” to which he replies simply; “Right now, the best thing in the world”. Once he has made this claim the shot continues to show his happy face momentarily before fading to black and symbolizing his death. This personal ending concludes Max’s final feelings and shows the audience that he was truly in love and was finally happy thus adding more tragedy to the outcome of the episode.
The scene begins and the first aspect that is noticed is the non-diegetic music. The music comprises of fast paced changes of notes in succession, which is dramatic on its own yet when it is coupled with samples of heart rate monitors (which give it a medical feel and link it to other drama sub-genres) there is predetermination that something is going to go wrong. The action begins straight away, with the young boy Tom running onto the road to fetch his fallen action man. The lighting is rosy with lush greens of the grasses beside him and the red of his action man (though this could also also imply danger). This lighting is reminiscent to the innocence of his character. There are quick shot transitions to other main characters; Niall who looks sinister as he sits in his car laden in dark clothes as well as Max and O’Brien who quickly notice that the boy is vulnerable on the road; these facial close ups allowing the characters to unveil their expressions of anxiety. Max runs over to Tom with the level camera unsteady, indicating that he is rushing to him. The audience presume the next installment of action is about to unfold when Max screams Tom’s name and the diegetic sounds of a Niall’s car revving and it’s tyres screeching are heard as it speeds around the corner. With these sounds adding to the ever present bleeps of the repetitive heart monitor a wall of tension is built. After many medium length shot reverse shots of Max’s view of Tom and Tom’s view of Max that dart between each other, the older character reaches Tom and pushes him onto the grass to the side of the road for safety filmed with a long shot. The editing techniques and transitions between shots are fluent and help to keep the scene flowing and the variety of fast paced shots are used to emphasise the chaos and build tension.
With a blunt and unforgiving shot that displays the reality of real life accidents, Max stays too long on the road and is hit by Niall’s car. This is shown almost through O’Brien’s eyes which adds to the realistic feel. There is a momentary pause as the camera zooms into his expression as O’Brien calculates what has happened to his best friend and the scene is thrown into slow motion. The shot switches to one of Tom’s action man falling to the ground. The toy is personified, predetermining the fall of his real life hero, Max. The cliche slow motion aspects of the scene lengthen the time span of the accident and heighten the tragedy and emotions felt by other characters. It also slows down the pace the scene was previously progressing at and is the opposite of the speed the car was traveling. O’Brien runs over to his best friend whilst Niall is seen being metaphorically framed as the camera, from a birds eye view through the sunroof, displays Niall getting out of his car. This highlights that he is the villainous character and has done wrong, although nobody realises the incident was purposeful and instead those around rush to his side.
As the action subsides the implications take place, including the character’s reactions. Gender stereotypes are represented here through their reactions of Max’s death. O’Brien takes charge immediately and conforms to the dominant male stereotype of being strong by rushing over to Max first and holding him in his arms. His dialogue consists mainly of; “don’t worry, you’ll be ok”, “It’s not as bad as it looks” and “Call an ambulance, now!” supporting the fact that he is positive. The two men are likened as they are wearing practically the same suits and this supports the fact they are both strong male characters and the fact they are best friends. The two men share words whilst the camera uses the 180 degree rule to ensure the conversation flows. O’Brien helps to interject a slight aspect of humour into the proceedings by saying; “don’t be gay!” when Max declares his love for his friend. This helps to reinforce his manly stereotype and humorous personality. Tom’s reaction is what you would expect from a boy of his age. The close up of his face shows that he is confused and upset yet not hysterical, connoting that one day he could be a strong dominant male just like O’Brien or his brother was. His dialogue is simple yet heartfelt; “Wake up Max!”, and without him the scene may not have been so effective. Stephs entrance to the is delayed at first, implying that she too, like O’Brien, has to calculate what has happened. Her white dress gives her the appearance of an angel and when she quickly runs to the side of Max she conforms to the stereotype of the neurotic female character. Her loud grieving indicates that she needs support from one of the male characters. The composition and choreography of the characters when Tom and Steph join O’Brien and Max is interesting and can help the audience to establish characters roles within the drama. O’Brien’s head is always held higher than the other two characters’ and this displays his control on the situation once more. Steph and Tom are seen either with their heads resting on Max or looking up to O’Brien for support, showing that they need support from a strong male character. Steph’s wedding dress frames the characters Tom, O’Brien and Max. This may suggest that she is a motherly figure or that she is an important character.
All the action here is coupled with non-diegetic music, an aspect which is very important. The music merges from the chaotic tension building music when the accident takes place and is replaced by a heavenly choral piece which adds to implication of Max floating up to heaven and accompanies the slow pace. As the scene progresses the music eventually encompasses the exclamations of grief from the characters, which intensifies the emotion. It may also imply that Max can no longer hear the cries from his family and friends, affirming that he is dead. As the scene ends the camera zooms out and rotates away from Max’s body, this could indicate an outer-body experience, signifying Max floating upwards to heaven. It may also connote Max looking down upon the scene of the crime, as it is a birds eye shot. Before the camera hight reaches its peak and tilts upwards the four faultless characters; Max, O’Brien, Tom and Steph can be seen in their same positions as they surround Max’s body whilst Niall sits with his back turned to them a distance away. Niall’s dark coloured clothes contrasts with Steph’s white dress and highlights their dissimilarity; the devil and the angel. All of these elements signify a peaceful and calm death and the chaos that has previously occurred is completely forgotten about as the audience witness the camera tilting upwards towards the sunlight scattering through the lush green leaves and finally to total whiteness. This editing signifies that Max has successfully reached heaven and the audience are no longer ill at ease by where Max rests.
The white screen and fades to a camcorder shot with the heavenly music continuing still from the previous scene. The shot shows Max being asked “what is love?” to which he replies simply; “Right now, the best thing in the world”. Once he has made this claim the shot continues to show his happy face momentarily before fading to black and symbolizing his death. This personal ending concludes Max’s final feelings and shows the audience that he was truly in love and was finally happy thus adding more tragedy to the outcome of the episode.
'This Is England' - Who Made It and How?
Warp Films was created in 1999 and has since established it’s role as a boundary pushing moving-picture company. Their aim was to create low-budget films that were presented in a director-led-fashion. It’s connections with Film4 have allowed them to create films and distribute them globally, and ties within its successful mother company Warp Records have allowed them to combine their directors with their bands to create visually as well as sonically pleasing works of art.
Directors who have worked with Warp Films include; Shane Meadows, Chris Cunningham, Chris Morris, Richard Ayoade, David Slade and Lynne Ramsay. Each of these directors have contributed with projects, with some gaining large amounts of success. Of the successful productions, those that stand out include; Chris Cunningham’s ‘Rubber Johnny’ which depicts a shape shifting mutant child kept in a basement and Shane Meadow’s ‘This is England’, a dramatic social representation of 1980’s Northern Britain which portrays the life of a young boy and a local skin-head gang.
Warp X is a new digital film studio based in Sheffield which is producing low-budget yet high value motion pictures that can reach wider audiences. It’s cutting edge digital technology conjoined with it’s modern approach to the morales of the industry have cemented its place in being a keen promoter for the future of low-budget, independent British films. It is driven by the creative talents of those involved and awards them with a share in the gross revenue of the production in which they are involved. Warp X’s aims are to; encourage filmmakers to explore social issues such as racism and social exclusion and to provide those involved within the British Film industry; including directors, writers, producers and actors previously disadvantaged due to their social backgrounds or disability with more opportunities. The films produced are for the Low-Budget Feature Film Scheme that has been created by the UK Film Council and Film4 to revitalise this sector of the British Film Industry. With additional financial support from EM Media and Screen Yorkshire along with development and distribution support from Optimum Releasing Warp X has successfully released two films in 2008, including the critically acclaimed ‘Donkey Punch’ and ‘A Complete History of my Sexual Failures’ as well as the award winning ‘This is England’ in 2006.
Successful Warp Films motion picture ‘This Is England’ by Shane Meadows was financed by Screen Yorkshire, Film4, UK Film Council and EM Media. It was produced by Big Arty Productions and distributed by Optimum Releasing(UK) and IFC Films(US).
Directors who have worked with Warp Films include; Shane Meadows, Chris Cunningham, Chris Morris, Richard Ayoade, David Slade and Lynne Ramsay. Each of these directors have contributed with projects, with some gaining large amounts of success. Of the successful productions, those that stand out include; Chris Cunningham’s ‘Rubber Johnny’ which depicts a shape shifting mutant child kept in a basement and Shane Meadow’s ‘This is England’, a dramatic social representation of 1980’s Northern Britain which portrays the life of a young boy and a local skin-head gang.
Warp X is a new digital film studio based in Sheffield which is producing low-budget yet high value motion pictures that can reach wider audiences. It’s cutting edge digital technology conjoined with it’s modern approach to the morales of the industry have cemented its place in being a keen promoter for the future of low-budget, independent British films. It is driven by the creative talents of those involved and awards them with a share in the gross revenue of the production in which they are involved. Warp X’s aims are to; encourage filmmakers to explore social issues such as racism and social exclusion and to provide those involved within the British Film industry; including directors, writers, producers and actors previously disadvantaged due to their social backgrounds or disability with more opportunities. The films produced are for the Low-Budget Feature Film Scheme that has been created by the UK Film Council and Film4 to revitalise this sector of the British Film Industry. With additional financial support from EM Media and Screen Yorkshire along with development and distribution support from Optimum Releasing Warp X has successfully released two films in 2008, including the critically acclaimed ‘Donkey Punch’ and ‘A Complete History of my Sexual Failures’ as well as the award winning ‘This is England’ in 2006.
Successful Warp Films motion picture ‘This Is England’ by Shane Meadows was financed by Screen Yorkshire, Film4, UK Film Council and EM Media. It was produced by Big Arty Productions and distributed by Optimum Releasing(UK) and IFC Films(US).
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