Analysing Soap Trailers

 Start by looking at the opening shot/sequence. How is the audience instantly drawn in or attracted? What aspects of mise en scene, camera work, editing or sound are used?

• Key aspects of soap trailers tend to be narrative, dialogue, characterisation and use/style of music. So try to focus on how these elements successfully convey a sense of the show and, crucially, a sense of the narratives/drama that is present within the show.

• How are characters and narrative introduced? How does the trailer convey the overall feel of the soap in this time? What information are we given and how are we given it? (dialogue, sound, music, setting, action)

• Focus on particular moments of tension in the trailer. How does it leave you wanting more? What are the key aspects of the trailer that promote the soap? How are they used?

• How does the trailer end? Is there a cliffhanger or moment of suspense? Does it have a ‘final shot’ after the credits, what effect does this have? What information is given to us at the end? How is this presented? What is the feeling at the end of the trailer? Is there a logo for the show/channel? Does it end with the theme tune for the show?

Overall you should be looking to write a thorough analysis of the soap trailer, focusing on how characters and narratives are introduced and made accessible and attractive, as well as looking at technical areas such as mise en scene, camera work, editing and sound.








Example of Soap Trailer Analysis
This trailer of Eastenders dominantly conveys emotions and characters through camera work and sound. The opening shot is a close up of a character’s feet that lingers to create suspense for the audience. This is followed by a mid shot of Max which shows the audience the character in trouble. The high angle shot of Max gives the audience a judgmental position. The next over the shoulder shot introduces his son, Bradley, whose costume is a security guard’s uniform, perhaps offering a sense of moral superiority and power. We see aspects of self-parody when Stacey is presented as a cleaner, as this can be seen to be mocking the low morals and generally ‘dirty’ nature of her character.

The blues-style soundtrack helps add to the suspense and mystery of the trailer, creating a low-down and dirty atmosphere to the whole trailer. There is no dialogue so everything is conveyed through body language and eye contact; this emphasises Max's isolation from his friends and family. The sound is echoed through the trailer and they also use non-diegetic sounds, including several whooshing slides of doors opening and trolleys being pulled out, which also helps to create an increasingly empty and isolated atmosphere. The female voice over is delivered in a deep and husky way, in keeping with the soundtrack and the heavy feel of the trailer overall.

The lighting in the trailer is very distinctive. At one point the light is only shining on Max which puts him in the spotlight as if he is being judged. There is good use of shadows too, perhaps suggesting that Max is hiding something or is being deceitful in some way. There are also very effective uses of slow motion, firstly when Stacey walks towards Max the slow-mo heightens her sexuality and the impending doom for Max. Slow-motion is also effective when we see Tanya, Max’s wife, pulling out a trolley in the morgue, hinting at the possible future for Max if he continues on this path.


At the end of the trailer we get a twist where Max turns around and Jack, his rival, appears. Jack is holding a death ticket with Max's name on it, connecting with the blackly humorous line "He's made his bed, but will he lie in it?” followed by the suitably dramatic “Judgement day for Max”. The trailer ends with the iconic drumming of the Eastenders theme tune and its accompanying satellite picture of the East End of London, helping to reinforce the brand identity of the show.


Multiple narratives are common in all soaps as they follow the lives of the characters from different viewpoints. Even though we are following one main narrative in this trailer, it is clear to see how this narrative can affect a number of characters and we see multiple viewpoints, such a Tanya’s & Bradley’s.


The trailer plays with the conventions of soaps, presenting an everyday storyline of infidelity and hurt in a hyper-dramatised and highly stylistic way. The use of costumes, with Stacey in a slutty maid’s outfit and Bradley absurd in his security uniform, the severe lighting and use of shadows and the non-linear narrative that shifts between characters and places all create this sense of hyper-drama. Leading on from this the trailer does not take itself too seriously either, offering a clear and knowing self-parody of the characters and their situation; none more so than Stacey as the bawdy maid.