Danielle McNab Home and Away trailer The majority of the camera shots are 2 shots, this helps

the audience to stay focused as there is not too much going on at once. Some of the beach shots are handheld, these represent the setting as the camera movement is wave-like, reflecting a calm sea. A HA upwards pan leading to an establishing shot helps to set the scene and atmosphere, the male in the scene has no jacket so we know that the weather is nice; suggesting the beach scenes will be relaxed. When the text "love lost" appears on the screen whilst the scene turns to the woman, the camera pans, resulting in the CU of the woman's face exiting the right side of the frame, this suggests that she is the love that the male character may have lost. There are lots of MS and CU shots which help to represent exaggerated emotions, which are a key feature of melodrama. The CU of the bullet shell bouncing off the ground whilst the diegetic sound of a woman screaming "please" represents her desperation and not having much time. As the non-diegetic pitch increases to an echoey hollow sound we can associate this with isolation, suggesting the woman is alone in the scene. Many of the shots are set on a beach. The female characters have wavy "beach look" hair to make the scene more effective. In addition, one of the females is wearing a white top, white connotes peace, reflecting the calmness of the atmosphere. There is lots of high-key lighting showing the open space on the beach and representing the freedom of the scene. Where as, scenes of desperation are set in low-key lighting in an enclosed setting representing the anxiety and rush, mirroring the lack of time when the bullet shell dropped to the ground. This contrast of colour shows that Home and Away is a melodrama, as a typical convention is the exaggeration, which we see through colouring, especially at the end of the trailer with half of the final establishing shot being the dark and gloomy figure and the cliff, which is juxtaposed to the bright sea and white clouds. Not all of the shots are happy and peaceful, the warehouse/dirty floor represents the danger the woman could be in as it is not a typically homily setting. Like in most soap trailers there is a mixture of diegetic and non-diegetic sound. The trailer begins with non-diegetic sounds of a slow tempo piano and a male singer, when the rest of the music kicks in we hear the non-diegetic dialogue "He has to fight, to keep his new love alive" as the scene switches to doctors trying to save a bodies life, this links the dialogue "fight" and "alive" with the shot of someone fighting for their life. The diegetic sound of the woman's gasp whilst she bangs on the window and screams "please" when the bullet shell bounces onto the floor represents her desperation and that the environment she is in is life threatening as we associate guns and bullets with death and intimidation. The multi-stranded narrative is represented by the juxtaposition (of) sound as after the bullet scene we hear a high pitched hollow non-diegetic sound before the nondiegetic voice-over of "How will this bring back his true love?", the high pitched sound represents the happiness and freedom his "true love" will bring. The diegetic dialogue "I've missed you so much" at the end suggests to the audience that an old character will be returning, leaving us intrigued to know who and want to watch the episodes. A final two keys on the piano of nondiegetic sound concludes the trailer and symbolises the end by stopping everything with just two notes, but also resonate suggesting a powerful lasting emotion.

Most of the transitions from one shot to another is a fade transition, this keeps the movement consistent which is a convention of soap trailers. Text overlay of "new love found" when a male and female character appear on the beach suggests that the female is his "new love" this is also a binary between the "love lost" that appeared on the shot before and the "love found" on this shot, these binary opposites of high romance and loss are key to melodrama as they show the extremes of emotion, this also links in Levi Strauss narrative theory of binary oppositions. The transitions change to straight cuts when the more dramatic narrative shots are on, with the occasional fade to black, representing the fear as black connotes sadness. The transitions return to fades when the heavenly beach shots of the happy couple are on scene and there is a long fade to white revealing a CU of the woman, the "heartbreaker" to him, white representing her angelic ways and innocence towards him and us the audience to convince us to be on her side before we've even watched the programme, this encourages us to want to watch and discover whether she is all innocent. The trailer ends with the "Home and Away" credits to brand the trailer and reinforce to the audience what programme it is representing.