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.
Tuesday, 1 September 2009
'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.
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.
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.
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.
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
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
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