MSCR 1100: Film 101

MSCR 1100: Film 101 Writing Guide

FILM, BOOK, OR ESSAY TITLES

Italicize or underline film and book titles. You typically also include the film’s director and date in parentheses the first time you mention the film in your paper; this may be important if you want to stress the historical context or sequence of your films discussed. Examples: Do the Right Thing (Spike Lee, 1989) Or, if the filmmaker is already addressed: Fantastic Mr. Fox (2009) In a sentence: Spike Lee confronts the viewer with racial tensions brought to the boiling point in Do the Right Thing (1989). Place in quotes articles and essays: “A Theater of Interruptions”

THE HISTORICAL PRESENT AND PARANTHETICAL INFORMATION Most textual analysis and commentary is written in a form of the present tense called the historical present (or literary present). This applies to films and to written works. The idea is that the events or ideas expressed or represented in a text continue, even after you read or watched it. This can get a little complicated when you alternate between recounting a past event (Jean Renoir directed this film in 1937, or Walter Benjamin wrote his first draft in 1934) and the content itself (Renoir’s film implies that national differences can be overcome; In the film, Renoir insinuates that groups are bound by class—note that this refers to the film as well as the filmmaker). Example: In Taxi Driver (Martin Scorsese, 1976) Travis Bickle (Robert De Niro) rehearses his gun-slinging before the mirror. First, note that the character does theses things in the film, not the actor—although you could say “Jodie Foster’s character gets into the car…” It is not always necessary, or even helpful, to always include the actor’s name—particularly when he or she is relatively unknown or plays a minor character. Once you have provided the parenthetical information you don’t need to do it again. For example, you may have a line a few paragraphs later: In Taxi Driver’s climatic confrontation, Travis shoots Sport (Harvey Keitel) on his way to rescue Iris. As a side note, I use the possessive on the film title here, but only italicize the film itself (not the apostrophe-s).

WHEN TO CITE AND WHEN NOT TO CITE If in doubt, it is better to site your source. In general, it is not necessary to cite the lecturing professor, unless it is absolutely clear that she/he is giving a specific opinion, and not simply presenting that week’s readings, or common knowledge. It is not necessary to cite, or place in quotations, things that are considered common knowledge. For example: “World War I was devastating for Europe,” does not need to be quoted or cited. If you are pulling a fact from a book, it may be best not to place it in quotes but use your own language. It is important that you cite this in the paragraph or as a footnote. For example: In 1929, France made 68 features, while the United States produced 526 (Bordwell and Thompson 2003: 85). Textbooks like The Film Experience are great sources for historical contexts and formal definitions, but it is not recommended that you structure your paper around them, for they tend to provide general overviews rather than present specific arguments. It is great to use quotes, but don’t let a quote stand in for your own thoughts. Quotes should serve to reference an author’s unique point of view, an issue that you want to address further. Make sure that these quotes are not simply dropped in, but are well integrated in your argument and have a clear link.

FIVE-PARAGRAPH STRUCTURE FOR 2-PAGE PAPERS

1. Thesis Paragraph Maps out what you want to say (your argument) and how you will say it (your method), including both the supporting text/s and terms, and examples from the films.

2. Terms, Quotes, or Supporting Texts Lays out the key relevant concept/s from your source, and reiterates how you will apply—or challenge— these with your examples.

3. Example 1 If necessary, provide a brief, one- or two-sentence context for your example. In around two sentences, describe all relevant aspects of the example, using the formal terms. In a couple of sentences, elaborate on its relevance to your thesis and central concepts.

4. Example 2 Same as example 1, but perhaps referencing first example as a counterpoint.

5. Conclusion With the supporting concepts, ties the two examples together into a synthesis (a new idea or insight that emerges through this juxtaposition). It does not restate the thesis paragraph (which tells the reader where we are going), and does not list the points the covered in the previous paragraphs, but provides a sense of closure while also—paradoxically—suggesting new spaces to explore.