Further textual analysis: The Addams Family

Format: Sitcom
Black Comedy
Created by: Charles Addams
Developed by: David Levy
Producer(s): Nat Perrin
Original run: September 18, 1964 – April 8, 1966



- Black and white scale represents the period of time but also connects with the genre
- Main characters introduced
- Background music used to fit with the genre, 'spooky' for the target audience
- Scenes from the drama used
- Comedic effect added through the character's facial expressions
- Diegetic sound also played in the shot that matches the non-diegetic sound - e.g. clicking of fingers and piano playing
- A family can quite clearly be established; the opening begins with a shot of the family together and also ends with the family together
- Located at one house, again signifies family orientated drama
- Establishing shot of the house at the beginning
- Title represents genre - the font/style adds to the children 'horror'
- Opening long shot of the family together then they are introduced individually, highlighting their separate roles in the drama
- Lyrics from the song (singing) only when characters are being introduced individually

Evaluation of further textual analysis:

At the beginning of my research, I chose to analyse a selection of texts from the children TV drama genre. This gave me an insight into the codes and conventions of children's TV drama, and what must be included to engage the target audience. The analysis of the initial texts was successful; it supplied me with initial ideas for my piece and the type of techniques and codes and conventions I would use and stay honest to. Nevertheless, when it came to deciding on my final piece, and choosing a more specific sub-genre of children's TV drama (sitcom), I felt it was necessary to extend my textual analysis.

I analysed The Addams Family, Malcolm in the Middle and Everybody Hates Chris - I found this extremely helpful in aiding my final decisions and how the sitcom genre is presented to a young audience. Each of these texts underlined the need to present the main characters and use them as the main feature of the intro. Everybody Hates Chris was particularly effective in enabling the audience to engage with the length of time that characters are shown on screen and the type of shot - most shots of the character were a mix of mid-shots and close-ups. Furthermore, Everybody Hates Chris highlighted the use of stereotypes within the sitcom genre; for example, the first character the audience see is wearing a tracksuit and there is a stereo/CD player central in the screen with the main title over. Thus, I was able to recognize the concept of using stereotypes to present the characters, and allow the audience to recognize the type of characters being presented - for instance, with the first character and the main title of Everybody Hates Chris it can quickly be established that the central theme is youth.

Further textual analysis: Everybody Hates Chris

I chose to do some further textual analysis on my chosen genre for children's TV drama, so I could have further knowledge on the codes and conventions of that genre. The dramas that I have chosen are: Everybody Loves Chris, Malcolm in the Middle and The Addams Family.


Genre: Sitcom
Created by: Chris Rock
Ali LeRoi
Producer(s): Adrienne Carter
Original run: September 22, 2005 – May 8, 2009



Everybody Hates Chris is an effective opening; it relies on a very small amount of action/movement, and instead uses still images with aninmation in the background to introduce the main characters.

- A lack of movement - keeps focus on the characters
- Characters introduced by a combination of mid-shots and long-shots
- Still shots of the characters used
- No dialogue, non-diegetic background music is used only
- Camera never stays still on one particular shot - zooms out from the characters and then pans to the next character
- Character's names appear at the bottom centre of the screen
- A street/neighbourhood setting - establishes location - suggests that there is a close a group of friends/family together, which is reinforced with the framed photo at the end
- Begins with a stereo with music playing out of it, also symbolises youth
- Youth/teenagers also symbolised through the graffitti and the skate park
- Small movement in the background, e.g. cars, leaves, clouds

Narrative - Structure

As the genre I am going to use is sit-com, I will centre my narrative on following the lives of group of young teenage friends - possibly in their final year of school. This will create an engaging narrative; as the audience will be able to relate to the friendship and events within the narrative, and also allow parents to engage and an older audience. An older audience will be able to establish the concept and meaning of the narrative and structure - especially as if they are in their final year of compulsory education, the emotional aspect will be of the group of friends maybe having to part ways. This would enable the verisimilitude of the intended narrative to be quite high, too.

Genre

From my research - especially textual analysis and audience theory, I have decided to use the sit-com genre for my children's TV drama. This will involve using young teenagers as the main characters, so these will need to be established in the title sequence, along with modern non-diegetic sound and other techniques to target my audience.

Audience Theory and Targeting Audience

One way in which I targeted my audience was by creating a questionnaire and gathering results. The results I received enabled me to establish an age group target and also a popular genre among that audience.

Furthermore, from the textual analysis of certain children's TV drama, I have also been able to establish a common target audience of certain genres. For example, Saved By The Bell and Sabrina The Teenage Witch are sit-coms and centre upon 'teenage' life at school and the lives of young teenagers, therefore with a teenage orientated narrative, the audience is also young teenagers. In addition to this, other children's TV drama, such as Bernard's Watch and Even Stevens target a younger audience than teenagers - around 9 -12 years. Thus, the textual analysis allowed me to understand the audience associated with particular genres and has helped me in my initial ideas and final ideas for the audience I want to target, and therefore the genre associated with that.

Brainstorm - initial ideas

This is my brainstorm of initial ideas.

Reflective Writing

Development of genre



The Rules of Film Noir
Film Noir wikipedia article

Film noir is a cinematic term used primarily to describe stylish Hollywood crime dramas, particularly those that emphasize moral ambiguity and sexual motivation. Hollywood's classic film noir period is generally regarded as stretching from the early 1940s to the late 1950s. Film noir of this era is associated with a low-key black-and-white visual style that has roots in German Expressionist cinematography, while many of the prototypical stories and much of the attitude of classic noir derive from the hard boiled school of crime fiction that emerged in the United States during the Depression.

The term film noir first applied to Hollywood movies by French critic Nino Frank in 1946, was unknown to most American film industry professionals of the era. Cinema historians and critics defined the canon of film noir in retrospect; many of those involved in the making of the classic noirs later professed to be unaware of having created a distinctive type of film.


During a Media lesson, we watched The Rules of Film Noir, this is very different to children's TV drama but possesses information on the codes and conventions of the narrative and the use of cinematography. Most significantly, The Rules of Film Noir highlights that there is a need to show a reflection on today's modern society - through social and historical context and what is the influence or if there is a influence, such as literary or political influence. When thinking about children's TV drama and The Rules of Film Noir, both need to show evidence of a reflection on society and in Film Noir it could be the war (historical context) or social attitudes, so children's TV drama looks at the social role of children/teenagers and this is shown through characterisation and representation. Therefore, in my title sequence I can choose to use a reflection of the way children live in today's society - either the lives of teenagers or the lives of young children. Furthermore, The Rules of Film Noir underlined the role of cinematography and the common lighting, angles, positioning and shots that were used, and whether these are challenged or remain the same, thus with children's TV drama, I could choose to challenge common uses of cinematography or stick to what is commonly used.

Primary research - questionnaire

Questionnaire
Please circle the correct answer.

1.Which age category do you fit in to?

3-6 years 7-10 years 10-13 years 13-16 years


2.Are you male or female?

Male Female


3.How many hours do you watch television a day?

0-1 hours 2-3 hours 3-4 hours 4+ hours


4.What genre/type of television is your most watched?

Science-fiction Action/Adventure Comedy Educational Sitcom


5.Do you prefer cartoons or 'real people' in television programmes?
Please write your answer on the line below.

….....................................................................................


6.Do you like fast paced background music or slow paced?

Fast paced Slow paced


7.What attracts you most to the television shows you watch now?

Music Character(s) Narrative (storyline) Actors/Actresses Colour


8.What's your most watched channel for children's television dramas?

CITV CBBC CBeebies Disney Channel Nickelodeon


9.Do you prefer young characters (e.g. between 5 and 10), teenage characters or older characters?

…......................................................................................

10.What's your favourite television show?
…......................................................................................


I will gather around 20 responses to the questionnaire.

By creating this questionnaire for my primary research, I am able to gather information on the type of children's TV drama I should go for, and what it should contain. What's more, I can establish the target audience and what that audience want to see in their title sequence, along with the variety of effects that I could use. Moreover, by getting the responses to these questions, it can help me distinguish what appears to be the most popular genre, which can help in my title sequence; whether it's educational, science fiction or comedy, this can help with my choice of location, characters, narrative and so on.

Conclusion of the textual analysis

I watched and analysed a range of different title sequences from science fiction genre to comedy, and this has helped me significantly in ideas for my own title sequence to a children's TV drama. It is especially evident from what I watched that a theme is always established, and is established through non-diegetic sound and the style of the piece. Additionally, from what I have analysed, there is little need to have lots of action, a narrative and lots of titles - keep things simple, and focus on very few things - being the most important of the drama. For example, the main character and/or a prop or something in connection with the character. A typical setting of many children's TV dramas, for a young teen audience, is a school, and this has given me the idea of using a school as the focus and location.

These are some of the things that appear to needed to be included:

- a theme
- choose a particular style, e.g. animation, and keep this is the main style
- a setting/ a location
- introduce one or more main characters, can include supporting characters
- non-diegetic sound more important, no need for dialogue or any other diegetic sound
- either fast paced or slow paced

Furthermore, analysing a range of texts from children's TV drama has been very effective as an opening for my research; I have an insight into the codes and conventions and have developed some initial ideas that I had before watching the intros to children's TV drama.

Thus, while the title sequences that I analysed were each different, with quite different themes, they were quite similar in their title sequences - focusing on the similar things, introducing themes, providing the audience with the location and engaging the audience through the style, music and characters. Therefore, from my textual analysis, I have a clearer understanding of what title sequences need to express, and what is needed to be shown to attract and engage the target audience.

'Bernard's Watch' textual analysis

Format: Children's Comedy
Directed by: David Cobham
Original run: 1997 - 2001 – 2004 - 2005



Camera, Editing, Sound, Mise-en-scene:

- calm atmosphere and slow paced
- very little action - establishes the main character and highlights the watch as a predominate focus
- the camera remains still at several points of the title sequence, e.g. the first 7 seconds being the longest, followed by 3 second still shots
- the first 7 seconds show a young male character walking up, and the camera then switches to a long shot of the boy walking
- a low angle shot shows a watch and the boy walking towards it, the low angle shot puts the watch as the focus
- the clock 'sparkles' which symbolises magic and the colour scale changes as the watch sparkles, again reinforcing the magic linked to the watch
- the background behind the boy shows clock mechanisms and the colour scale is dark
- a rainbow directs to the watch, suggesting the happiness linked to the watch
- non-diegetic clock 'ticking' is heard along with the background music
- the title sequence ends with a still shot of Bernard holding up his watch - the boy is positioned on the left and the watch is positioned on the right, showing that they are equal in their importance and focus of the drama

The Bernard's Watch title sequence is similar to Sabrina The Teenage Witch title sequence in that the theme of something 'magic' can be ascertained. The background setting is kept very simple to allow the focus to stay on the boy and the watch, and the camera angles used, such as low angles, accentuated more attention to they boy and the watch. The watch and the boy have equal importance in the title sequence, which suggests that they have an equal role of significance in the drama. For example, the last shot shows the boy positioned on the left and the watch positioned on the right, again reinforcing their equal importance. Moreover, effects such as the sparkle off the watch and the background of clock mechanisms over the boy highlights the importance of the watch and suggests the theme. Therefore, Bernard's Watch has an effective title sequence; action isn't used much and this gives the audience time to establish the theme and ensures that the focus is kept on what's important to the drama - the boy and the watch.

'Grange Hill' textual analysis

Format: Drama/Soap
Created by : Phil Redmond
Original airing: 8 February 1978 –
15 September 2008





Camera, Editing, Sound, Mise-en-scene:

1978 title sequence

- comic/magazine style used for the title sequence
- school location and setting is established through the comic, e.g. sports, school bus, school uniform/clothing, characters
- camera zooms in and out of comic images
- panning of all angles to different comic shots
- titles appear as part of the comic
- background music is slow paced
- after the comic sequence, an establishing shot of the school is seen
- a character goes to unlock a gate, this is shown by a long shot - engaging the audience with the location/narrative

2004 title sequence

- the beginning of the title sequence establishes a 'game' them; the title 'loading' links to games and is moving at a fast speed which is a common feature in games
- the pace is very fast paced
- a game theme is illustrated through different 'levels' and icons, such as 'power' at the side of the screen - these are symbolic of games
- like the pace, the camera movement is also very quick
- a school setting/location is established through the mise-en-scene
- the theme of game suggests that the target audience could mainly be male, as games are stereotypically played by boys more than girls
- teachers are also shown in a negative light, suggesting the drama is from the point of view of students

There are significant differences between the 1978 title sequence and the 2004 title sequence - most notably being the style - a game vs a comic. This shows the development of the drama but also the development of technology. The use of a comic style and a game style for the titles instantly engages the audience and targets the audience as young; children and teenagers can connect with games and comics, as in 1978 comics would have been popular and in 2004 games were popular to children, and regularly played. Nevertheless, while these styles were used, the location and narrative was expressed and hinted at being a school and following the lives of students from their point of view. This was reinforced when in the 2004 title sequence a teacher was seen in a negative light - 'telling them off', suggesting it is a point of view from the student. Therefore, these title sequences highlight that a style can be used to engage and address the audience, but at the same time remembering to introduce characters, setting and theme.

'Saved by the Bell' textual analysis

Genre: Sitcom
Created by: Sam Bobrick
Executive producer(s) : Peter Engel
Original run: August 20, 1989 – May 22, 1993 (excluding specials)



Camera, Editing, Sound, Mise-en-scene:

- animation is used predominantly
- begins with the non-diegetic sound of a school bell, suggesting the setting/location of the sitcom
- non-diegetic background music throughout, singing is used, unlike many children's tv drama
- main title appears at the beginning of the title sequence and the end
- bright colours used for the animation to attract attention
- the main characters shown are teenagers, suggesting the target audience
- characters are shown in a 'bubble' over the animation, usually mid shots of the characters and shown for 6/7 seconds each
- they are also shown doing a variety of different things, e.g. talking, playing sport...
- there is a mix of 'geeky' and 'popular' characters which underlines the a range of characters
- three male characters are shown before 3 female characters
- older characters follow after the young characters are shown
- teenage atmosphere - footballs, guitars, sunglasses, fast food etc - hinting towards the narrative
- ends as it began - the main title

Saved By The Bell has a simple title sequence, the only filming used is when the main and supporting characters are introduced, thus showing the audience that the drama is not an animation and institutes the target audience of the piece. Furthermore, the animation also implies the audience and the setting/location of the drama, which is then confirmed through the characters as being located in a school/high school and the non-diegetic sound at the beginning of the title sequence can be recognised as a school bell. Therefore, even though little filming is used for this title sequence, the audience can still recognise the theme, setting and the genre.

'Doctor Who' textual analysis

Genre: Science fiction drama

Created by: Sydney Newman
C. E. Webber
Donald Wilson

Executive producer(s): Various executive producers
(currently Russell T Davies and Julie Gardner)

Original channel: BBC One (originally known as BBC tv)
BBC HD (simulcast with BBC One, 2009-present)

Original run: Classic series:
23 November 1963 –
6 December 1989
Television film:
12 May 1996
Current series:
26 March 2005–present




Camera, Editing, Sound, Mise-en-scene:

- the non-diegetic background music is iconic of the science fiction genre
- the camera doesn't move - the key parts of shots, such as the tardis are always positioned in the centre
- the tardis zooms in to the camera and then zooms out when leaving
- the light shining from the tardis represents its importance
- animation is used to present the genre and present the theme to the audience
- the main character is shown over the animated background and fades in and out of the shot
- shapes are used and there is continuous movement - giving a 'space' theme
- fast paced
- Doctor Who logo/title appears at the end of the title sequence and disappears by zooming out - again this is centralised in the shot
- camera remains on the same shot for 15 seconds at the end of the title sequence - very little action - engaging the audience with the theme/narrative of the drama


The title sequence for Doctor Who immediately identifies to the audience that the drama is of a science fiction genre, and this genre is fortified through, most significantly, the non-diegetic background music and also the background animation. The genre and theme are introduced in this title sequence; the audience can recognise there is a 'space' theme and a mysterious narrative to be unfolded. What's more, very little changes in the title sequence - the animation in the background stays the same throughout, and only two things are shown: the Tardis at the beginning and a character's face part way through. Thus, the Doctor Who title sequence doesn't use a lot of action, characters or narrative to engage the audience - instead focusing on establishing the genre and the most significant things within the drama, the Tardis and the Doctor.

'Sabrina The Teenage Witch' textual analysis

Format: Sitcom
Created by: Nell Scovell (based on the characters created by Dan DeCarlo and George Gladir)
Original run: September 27, 1996 – April 24, 2003




Camera, Editing, Sound, Mise-en-scene:
Sabrina The Teenage Witch doesn't use animation or cartoon as the main style for the intro to the programme and throughout the piece, the audience can establish there is theme of 'magic' to the drama.

- non-diegetic background music creates a 'magic-like' atmosphere and no diegetic sound is used
- the title sequence is quite fast paced
- there is a continuous change of setting throughout, reinforcing the use of magic/spells to create the quick change
- Sabrina is the only character seen, the other characters part of the drama are introduced over the shots and as mid-shots only, to keep the focus on Sabrina
- other characters are also shown for a short period of time - 4/5 seconds each
- a teen orientated audience is suggested through the character's age and her clothing; when the location switches to night, Sabrina is wearing a 'going out' dress
- special effects/CGI are used to reinforce the magic, e.g when the location changes and other locations appear
- the camera pans Sabrina as she walks to ensure the focus is kept on her
- many of the shots show more than one Sabrina, which not illustrates her importance, but again, creates the 'magical' feel
- the title sequence ends with the camera zooming slightly into Sabrina and then a change of setting - her bedroom - connecting the audience with the character

Sabrina The Teenage Witch continuously follows the theme of 'magic' in the introduction, which engages the audience as they are able to recognise the type of narrative that this drama will follow. Additionally, the pace and constant change of location allow the audience to engage with the character and the setting of the programme.

Out of all of the other children's TV drama title sequences that I analysed, Sabrina The Teenage Witch has the most filming - rather that using animation or cartoon to engage with the audience and attract attention, the 'real' setting and character(s) have been established.

This title sequence has underlined to me that a theme must be established to allow the audience to recognise the theme of the narrative - in this case 'magic'. Additionally, not a great deal of movement/action is used to keep focus on the character.

CITV and CBBC

I have also chosen to broaden my research by looking at the brand names for children's television - CITV and CBBC. I have chosen to do this; it can help me establish a target audience/age group and the variety of children's programmes that can guide me with ideas.

CITV (Children's Independent Television) began on January 3 1983, and contained programmes with pre-recorded links in between, also using a different presenter each month. It is aimed at children under the age of 12. Moreover, the CITV channel has been moved to a range of other channels, and in 2006 a CITV channel was launched - replacing the ITV news channel. CITV also uses blocks for their children's programmes. These are: Toon Base, Get Stuck In! Chooseday, Marathon Weekends, Totally Henry and Horrid Henry's Power Hour. Many of the programmes shown on CITV are cartoons, along with creative programmes.

CBBC is the brand name used for the BBC's children's television programmes, and the programmes featured are specifically aimed at the age group of 6-12 years old. The CBBC channel was launched September 9 1985 on BBC One as a block. Like CITV, CBBC also uses a variety of presenters, but rather than changing presenters each month, the same presenters were used to engage with the audience.

Final decision and research

After spending some time thinking which brief to choose, I have decided to go for the children's TV drama. This would allow me to try something new, learning new skills and creating something a lot different to my final piece at AS. Therefore, as children's TV drama isn't something that I've studied before, it's vital that I research the genre - including textual analysis, codes and conventions, representation and audience before I begin to decide on what I want to include in my piece. Looking at the generic codes and conventions is particularly important; I can establish whether I am going to stick to these or choose to do something different.

Useful website: screenonline: Children's TV Drama
The Museum of Broadcast Television - Children and Television

Children spend and devote a lot of their free time to watching television, and what they watch on television influences their view, understanding and interpretation of TV and also influences their way of life - what can be deemed correct as a way of living and behaving.

The Museum of Broadcast Television says: 'Although children have everyday contact with other media and many other forms of expression and communication, visual media alone are seen as speaking a "universal language," accessible regardless of age.' This explains that children have contact with all kinds of media, this could be radio, magazines, books and so on, but is the visual media that has the biggest impact on children. To be able to see the way people live, behave, interact is an educational tool for children and can be accessed by anyone - 'regardless of age'.

Furthermore, visual media, such as television is important to the development of children; it acts as an educational tool, one example of a children's educational show is Sesame Street and this enabled children to learn basic skills and develop their skills, along with contributing to their early successes in education.

Children's TV drama began in 1950, most significantly becoming a feature of BBC's postwar television service. These TV dramas began being shown live, and some examples of early productions are, Little Women (BBC, 1950) and The Railway Children (BBC, 1951, 1957, 1968). ITV later joined in on producing children's drama, when the BBC saw American Westerns and the books of Enid Blyton as less worthy. However, the BBC had to close down its children's drama as a result of internal politics; grown up dramas took over children's for the next few years. Therefore, children's TV drama began over 40 years ago and is used to not only entertain children but to educate as well, Blue Peter is a prime example of this.

What's more, children's television is usually broadcast in the morning and afternoon - particularly before and after school, now with brand names such as, CITV and CBBC holding the most popularity for children's TV drama. Children's programmes are also presented in a variety of forms, some being comedies and animations, while others being game shows and educational.

Many of the shows shown for children have altered the verisimilitude of their focus and narrative, starting in the mid-70s with such programmes as, The Siege of Golden Hill (ITV, 1975) about teenage gangs and council corruption and A Bunch of Fives (ITV, 1977-78) using school life as a focus. This was developed into more modern shows, like Byker Grove (1948-present) and Grange Hill which highlighted school life, while at the same time examining all kinds of adolescent issues from drugs to pregnancy, eliciting outraged responses from parents and teachers. These types of shows provide children with an insight into adolescent life and develop social skills. Thus, shows like Byker Grove and Grange Hill are aimed at older children, reaching adolescence - typically 12 years to 17 years old. Moreover, the sub-genres of children's TV drama changed in the 1980s, with adventure stories, issue-led contemporary tales, science-fiction, fantasy, period classics and one-off plays being produced for children. Some examples of these are Doctor Who and Dramarama.

Therefore, there are many different types of children's TV drama - from science fiction through to comedy. The research I have made has given me an insight into the variety of children's programmes and some vague ideas on the type of drama I would like to produce. For example, I could choose to add an educational purpose or simply choose for an entertainment purpose.

Introduction to the coursework

In our first media lesson we were shown the different briefs of which to choose for our coursework piece. The amount of choice proved difficult at first; there were a variety of contrasting briefts to be chosen, thus it was imperative that I chose a brief that I knew I could do well with what I already know while developing and learning new skills.

I have chosen two so far that I think could manage well - a teaser trailer or a children's TV drama title sequence. I feel that a teaser trailer would work well; the skills I have at the moment after the AS coursework, such as the filming involved and experience with the editing software would prove helpful and my interest in film would help me broaden my knowledge. Nevertheless, I also feel that a children's TV drama would work successfully as I have quite a good knowledge on TV drama and would prefer to do something that didn't consist of a lot of filming/ using software; using the software was not my strongest point and I would like to try something new. For example, using drawings for the title sequence or something animated.

These are the two briefs:

Brief 2
A promotion package for a new film, to include a teaser trailer, together with:
a film magazine front cover, featuring the film
a poster for the film

Brief 6
A selection of materials related to an original children's TV drama, to include the title sequence to the TV programme, together with:
the front cover to a magazine for the series
a DVD cover for the series