Propaganda: Material disseminated by the advocates of a doctrine or cause.
Directions: Write a 4 page research paper that “reviews” or “evaluates” a documentary film that educates the public on a specific issue. The essay should be in correct MLA style format with a header, centered title, Works Cited, and internal citations. You will also provide an annotated bibliography of the sources used in the essay.
The paper will comprise 3 elements: 1. An evaluation of the film backed by 3-5 film reviews that have appeared in nationwide, credible newspapers or magazines that have been written by distinguished critics in the field. 2. An overview of the topic (including an update) being presented in the film backed by 3-5 scholarly journal articles (or books) written by experts in the field of study presented in the film. [YOU ALREADY HAVE THIS INFO.] 3. An evaluation of the rhetorical presentation of the topic (the techniques the director uses to convey the point). You should use your textbook for this part.
Total Sources: No less than 8: 3 film reviews, 3 journal articles (or books) related to the topic of discussion presented by the film, 1-2 articles that provide an "update" of your issue, your textbook, and your film. You can have up to 12 sources; adding more journal articles and reviews is helpful. Each body paragraph should contain internal citations (approximately 3-5 per paragraph). They should be correctly formatted to MLA guidelines. Use your sources to back up your evaluation, not to summarize the plot of the film. Also, make sure that your sources are valid.
The Choices:
Bridegroom Topic: Gay Rights
Inequality for All Topic: Economic Inequality
West of Memphis Topic: The Death Penalty / Unjust Court System
(Group 4 depends on # of students in the class)
Bowling for Columbine Topic: Gun Violence in America
All films are available for instant download on Amazon for $2.99. They are also available on Netflix. The library has copies as well.
You will work individually on the research paper but in groups for the presentation.
For the presentation, you will:
1. Screen your film in class. You may have to cut some of the film out-- total time spent on the movie should be 1 hr 30 min.
2. Provide a Power Point or Prezi on the film, covering the ISSUE it highlights, history of the issue/film, people involved, purpose, critical acceptance, rhetorical devices, most effective scenes/points, etc. Discuss each slide.
3. Provide visual props that convey the message of your film (3 minimum). Discuss.
4. Provide a handout with visuals, information, and links to further research. Discuss.
Helpful Questions for Evaluation: What does the subject try to achieve? Who is the audience for the subject? In what particular way(s) does the subject achieve its goal? What specific parts, tools, or strategies help the subject to achieve its goal? What goals may have been ignored? What is unique about your directors’ approach or strategy toward achieving the goal(s)?
Brief Outline: [Start with a creative title!]
Paragraph 1: Introduction. Start with a topic driven lead-in or hook. Give a brief overview of the film (1-3 sentences). Introduce the director and “actors” or contributors to the project. Give a brief overview of the topic being discussed in the film. You must provide the context for the paper here-- you must list basic "plot", "theme", and introduce the director and "characters" or "participants" in the film. You might discuss the goals of the film & list awards. Include an evaluative thesis that captures the basis of your argument (whether or not the film is successful and why or why not).
Paragraph 2: Give an overview of the TOPIC-- the SUBJECT of the film (i.e. "capital punishment", "climate change", "food safety", etc.). You will use quotes from your research articles to give a broad overview of the issue at hand in this film. Your last sentence should be a transition from the general topic (i.e. climate change) to your specific movie (i.e. An Inconvenient Truth). BASICALLY, this paragraph is a summary of the central "issue" covered in the film-- not the film specifically but the issue in general.
Paragraphs 3, 4: This is where you will discuss specific aspects of the film that contributes to the worthiness of the film and how it achieves its goal. Examples of this may be camera work, narrative devices, music, emotional appeals, characters or actors, cinematography, etc. Now that you've discussed the general topic, you need to evaluate how THIS FILM PRESENTS THIS TOPIC. Give specific examples from the film to back up your evaluative claims. You should quote the film or refer to specific scenes, as well as cite critics’ views. You should also incorporate your research in these body paragraphs; in other words tie in the "aspects" of the film to the research that you find on the topic itself. Please stay focused: 1 topic per body paragraph. *Approx. 3-5 quotes per paragraph; all sources should be cited at least once somewhere in the paper.*
Paragraph 5: A concession: If you say the film works, then discuss parts or aspects of the film that could have been improved or done differently in order to improve effectiveness. If you say the film didn’t work, then list aspects of the film that were particularly effective. Be detailed and give examples. You should also incorporate a brief discussion on the type of logic used by the filmmaker, as well as any “fallacies” in the logic (refer to your textbook). The quotes (internal citations) for this paragraph will mainly come from your textbook. Logos, Ethos, Pathos... which one dominates the film?
The goal of argumentative writing is to persuade your audience that your ideas are valid, or more valid than someone else's. The Greek philosopher Aristotle divided the means of persuasion, appeals, into three categories--Ethos, Pathos, Logos.
Ethos (Credibility), or ethical appeal, means convincing by the character of the author. We tend to believe people whom we respect. One of the central problems of argumentation is to project an impression to the reader that you are someone worth listening to, in other words making yourself as author into an authority on the subject of the paper, as well as someone who is likable and worthy of respect. * Does your film use celebrities or famous experts to legitimize the cause? If so, this is an example of ethos.
Ethos (Greek for 'character') refers to the trustworthiness or credibility of the writer or speaker. Ethos is often conveyed through tone and style of the message and through the way the writer or speaker refers to differing views. It can also be affected by the writer's reputation as it exists independently from the message--his or her expertise in the field, his or her previous record or integrity, and so forth. The impact of ethos is often called the argument's 'ethical appeal' or the 'appeal from credibility.'
Pathos (Emotional) means persuading by appealing to the reader's emotions. We can look at texts ranging from classic essays to contemporary advertisements to see how pathos, emotional appeals, are used to persuade. Language choice affects the audience's emotional response, and emotional appeal can effectively be used to enhance an argument. * Think the SAVE THE CHILDREN or HELP THE ANIMALS commercials.
[P]athos (Greek for 'suffering' or 'experience') is often associated with emotional appeal. But a better equivalent might be 'appeal to the audience's sympathies and imagination.' An appeal to pathos causes an audience not just to respond emotionally but to identify with the writer's point of view--to feel what the writer feels. In this sense, pathos evokes a meaning implicit in the verb 'to suffer'--to feel pain imaginatively.... Perhaps the most common way of conveying a pathetic appeal is through narrative or story, which can turn the abstractions of logic into something palpable and present. The values, beliefs, and understandings of the writer are implicit in the story and conveyed imaginatively to the reader. Pathos thus refers to both the emotional and the imaginative impact of the message on an audience, the power with which the writer's message moves the audience to decision or action.
Logos (Logical) means persuading by the use of reasoning. This will be the most important technique. Giving reasons is the heart of argumentation, and cannot be emphasized enough. Logos (Greek for 'word') refers to the internal consistency of the message--the clarity of the claim, the logic of its reasons, and the effectiveness of its supporting evidence. The impact of logos on an audience is sometimes called the argument's logical appeal. * We studied FALLACIES, and you will be asked to find "holes in logic" presented in or pointed out by your film.
Conclusion: Restate the film & filmmaker in this paragraph. This should be your overall thoughts about the film—your commentary on the work as a whole and what it contributes to the arts. You will also specifically state the value of the film to society. You will also want to UPDATE your readers as to what has happened in regards to this issue in the years/months since the film has been made. [You can take this from your Issues paper!] Finally, you will give your recommendation for the film: thumbs up or down, target audience, etc. However, you will not use 1st or 2nd person... remain objective.
IMPORTANT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Bibliography (or Works Cited) Page:
List your sources in ABC order.
Follow MLA format.
You will see a lot of information on this page about ANNOTATED BIBLIOGRAPHIES. We will NOT ANNOTATE this semester. However, you will be asked to indicate the PARAGRAPH # from the paper in which you made use of the particular source on the citation page.
Example:
Ebert, Roger. "Twilight". Rev. of Twilight dir. by Catherine Hardwicke. Chicago-Sun Times online. Chicago Sun-Times,
20 October 2008. Web. 02 November 2012. Cited in Paragraphs 3 and 4.
******************************************************************************************************
Notes on finding and incorporating sources: Sample sources for movie reviews would be Roger Ebert from The Chicago Sun-Times, A.O. Scott or Vincent Canby from The New York Times, Nick LaSalle from The San Francisco Chronicle, Peter Travers from Rolling Stone, etc. For an easy search, type in your film title at www.imdb.com, and click on “external reviews”, which will bring you to a page of links to reviews of your film. ONLY use respected sources! Your ideas should be the basis for the essay, and using critics’ reviews should only serve to compliment, explain, support, and expand upon YOUR ideas about the film.
* Students should make appointments with the writing center tutors NOW in order to have papers revised by the due date. There will be no extensions granted with this paper. Students who submit proof that they received tutoring either from the writing lab or online through GRADE RESULTS will receive extra points on the final paper.
NO HANGING QUOTES! Work each quote in as part of your own sentences in a grammatically and mechanically correct way. Cite the critic’s last name and page or paragraph number in parenthesis directly after the quote. Example:
The director uses first person narrative accounts, which “provide an emotional connection between the film and the audience” (Ebert, par. 4).
or (Ebert 4)—depending if you are using paragraph or page #’s.
Roger Ebert states, "the perspective provide[s] an emotional connection between the film and the audience" (par. 4), which keeps viewers interested in the film's content.
TIPS:
Do not use ... unless you are eliminating words from the MIDDLE of a quote.
Do not include the period at the end of a quote; it goes at the end of a sentence.
Use [] to indicate that you have added or removed letters/words from a quote in order for it to "fit" into your sentence correctly.
Do not place random quotes in your paper; every quote you use must be included purposefully. You indicate your purpose in the annotated bibliography.
The topic-based research can come from scholarly journals or books in the field of study. You must get this research from the LIBRARY! Only library databases such as Ebscohost, Infotrac, etc. will lead you to “expert” articles; do NOT rely on the internet! You can also research books on the topic; however, make sure that the book is scholarly and by an expert in the field. For example, a political account of global warming would not be appropriate, but one written by a leading researcher in the scientific community would. Which database you use will depend on which topic you pick; ask the librarian for help.
Plagiarism of any kind will not be tolerated. This includes using the EXACT standards for MLA citation. All points, ideas, or information that is not your own requires citation, whether it is quoted directly or not. This is YOUR evaluation, YOUR argument… the outside research will be used only to back up YOUR ideas.
ABSTRACT: You must have an abstract of your paper prepared. To write an abstract, write down your thesis statement, 4 topic statements, and a concluding (wrap-up) statement in paragraph form.
Remember: We write in the 3rd person (no I’s or You’s) and in the PRESENT TENSE.
Directions: Write a 4 page research paper that “reviews” or “evaluates” a documentary film that educates the public on a specific issue. The essay should be in correct MLA style format with a header, centered title, Works Cited, and internal citations. You will also provide an annotated bibliography of the sources used in the essay.
The paper will comprise 3 elements: 1. An evaluation of the film backed by 3-5 film reviews that have appeared in nationwide, credible newspapers or magazines that have been written by distinguished critics in the field. 2. An overview of the topic (including an update) being presented in the film backed by 3-5 scholarly journal articles (or books) written by experts in the field of study presented in the film. [YOU ALREADY HAVE THIS INFO.] 3. An evaluation of the rhetorical presentation of the topic (the techniques the director uses to convey the point). You should use your textbook for this part.
Total Sources: No less than 8: 3 film reviews, 3 journal articles (or books) related to the topic of discussion presented by the film, 1-2 articles that provide an "update" of your issue, your textbook, and your film. You can have up to 12 sources; adding more journal articles and reviews is helpful. Each body paragraph should contain internal citations (approximately 3-5 per paragraph). They should be correctly formatted to MLA guidelines. Use your sources to back up your evaluation, not to summarize the plot of the film. Also, make sure that your sources are valid.
The Choices:
Bridegroom Topic: Gay Rights
Inequality for All Topic: Economic Inequality
West of Memphis Topic: The Death Penalty / Unjust Court System
(Group 4 depends on # of students in the class)
Bowling for Columbine Topic: Gun Violence in America
All films are available for instant download on Amazon for $2.99. They are also available on Netflix. The library has copies as well.
You will work individually on the research paper but in groups for the presentation.
For the presentation, you will:
1. Screen your film in class. You may have to cut some of the film out-- total time spent on the movie should be 1 hr 30 min.
2. Provide a Power Point or Prezi on the film, covering the ISSUE it highlights, history of the issue/film, people involved, purpose, critical acceptance, rhetorical devices, most effective scenes/points, etc. Discuss each slide.
3. Provide visual props that convey the message of your film (3 minimum). Discuss.
4. Provide a handout with visuals, information, and links to further research. Discuss.
Helpful Questions for Evaluation: What does the subject try to achieve? Who is the audience for the subject? In what particular way(s) does the subject achieve its goal? What specific parts, tools, or strategies help the subject to achieve its goal? What goals may have been ignored? What is unique about your directors’ approach or strategy toward achieving the goal(s)?
Brief Outline: [Start with a creative title!]
Paragraph 1: Introduction. Start with a topic driven lead-in or hook. Give a brief overview of the film (1-3 sentences). Introduce the director and “actors” or contributors to the project. Give a brief overview of the topic being discussed in the film. You must provide the context for the paper here-- you must list basic "plot", "theme", and introduce the director and "characters" or "participants" in the film. You might discuss the goals of the film & list awards. Include an evaluative thesis that captures the basis of your argument (whether or not the film is successful and why or why not).
Paragraph 2: Give an overview of the TOPIC-- the SUBJECT of the film (i.e. "capital punishment", "climate change", "food safety", etc.). You will use quotes from your research articles to give a broad overview of the issue at hand in this film. Your last sentence should be a transition from the general topic (i.e. climate change) to your specific movie (i.e. An Inconvenient Truth). BASICALLY, this paragraph is a summary of the central "issue" covered in the film-- not the film specifically but the issue in general.
Paragraphs 3, 4: This is where you will discuss specific aspects of the film that contributes to the worthiness of the film and how it achieves its goal. Examples of this may be camera work, narrative devices, music, emotional appeals, characters or actors, cinematography, etc. Now that you've discussed the general topic, you need to evaluate how THIS FILM PRESENTS THIS TOPIC. Give specific examples from the film to back up your evaluative claims. You should quote the film or refer to specific scenes, as well as cite critics’ views. You should also incorporate your research in these body paragraphs; in other words tie in the "aspects" of the film to the research that you find on the topic itself. Please stay focused: 1 topic per body paragraph. *Approx. 3-5 quotes per paragraph; all sources should be cited at least once somewhere in the paper.*
Paragraph 5: A concession: If you say the film works, then discuss parts or aspects of the film that could have been improved or done differently in order to improve effectiveness. If you say the film didn’t work, then list aspects of the film that were particularly effective. Be detailed and give examples. You should also incorporate a brief discussion on the type of logic used by the filmmaker, as well as any “fallacies” in the logic (refer to your textbook). The quotes (internal citations) for this paragraph will mainly come from your textbook. Logos, Ethos, Pathos... which one dominates the film?
The goal of argumentative writing is to persuade your audience that your ideas are valid, or more valid than someone else's. The Greek philosopher Aristotle divided the means of persuasion, appeals, into three categories--Ethos, Pathos, Logos.
Ethos (Credibility), or ethical appeal, means convincing by the character of the author. We tend to believe people whom we respect. One of the central problems of argumentation is to project an impression to the reader that you are someone worth listening to, in other words making yourself as author into an authority on the subject of the paper, as well as someone who is likable and worthy of respect. * Does your film use celebrities or famous experts to legitimize the cause? If so, this is an example of ethos.
Ethos (Greek for 'character') refers to the trustworthiness or credibility of the writer or speaker. Ethos is often conveyed through tone and style of the message and through the way the writer or speaker refers to differing views. It can also be affected by the writer's reputation as it exists independently from the message--his or her expertise in the field, his or her previous record or integrity, and so forth. The impact of ethos is often called the argument's 'ethical appeal' or the 'appeal from credibility.'
Pathos (Emotional) means persuading by appealing to the reader's emotions. We can look at texts ranging from classic essays to contemporary advertisements to see how pathos, emotional appeals, are used to persuade. Language choice affects the audience's emotional response, and emotional appeal can effectively be used to enhance an argument. * Think the SAVE THE CHILDREN or HELP THE ANIMALS commercials.
[P]athos (Greek for 'suffering' or 'experience') is often associated with emotional appeal. But a better equivalent might be 'appeal to the audience's sympathies and imagination.' An appeal to pathos causes an audience not just to respond emotionally but to identify with the writer's point of view--to feel what the writer feels. In this sense, pathos evokes a meaning implicit in the verb 'to suffer'--to feel pain imaginatively.... Perhaps the most common way of conveying a pathetic appeal is through narrative or story, which can turn the abstractions of logic into something palpable and present. The values, beliefs, and understandings of the writer are implicit in the story and conveyed imaginatively to the reader. Pathos thus refers to both the emotional and the imaginative impact of the message on an audience, the power with which the writer's message moves the audience to decision or action.
Logos (Logical) means persuading by the use of reasoning. This will be the most important technique. Giving reasons is the heart of argumentation, and cannot be emphasized enough. Logos (Greek for 'word') refers to the internal consistency of the message--the clarity of the claim, the logic of its reasons, and the effectiveness of its supporting evidence. The impact of logos on an audience is sometimes called the argument's logical appeal. * We studied FALLACIES, and you will be asked to find "holes in logic" presented in or pointed out by your film.
Conclusion: Restate the film & filmmaker in this paragraph. This should be your overall thoughts about the film—your commentary on the work as a whole and what it contributes to the arts. You will also specifically state the value of the film to society. You will also want to UPDATE your readers as to what has happened in regards to this issue in the years/months since the film has been made. [You can take this from your Issues paper!] Finally, you will give your recommendation for the film: thumbs up or down, target audience, etc. However, you will not use 1st or 2nd person... remain objective.
IMPORTANT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Bibliography (or Works Cited) Page:
List your sources in ABC order.
Follow MLA format.
You will see a lot of information on this page about ANNOTATED BIBLIOGRAPHIES. We will NOT ANNOTATE this semester. However, you will be asked to indicate the PARAGRAPH # from the paper in which you made use of the particular source on the citation page.
Example:
Ebert, Roger. "Twilight". Rev. of Twilight dir. by Catherine Hardwicke. Chicago-Sun Times online. Chicago Sun-Times,
20 October 2008. Web. 02 November 2012. Cited in Paragraphs 3 and 4.
******************************************************************************************************
Notes on finding and incorporating sources: Sample sources for movie reviews would be Roger Ebert from The Chicago Sun-Times, A.O. Scott or Vincent Canby from The New York Times, Nick LaSalle from The San Francisco Chronicle, Peter Travers from Rolling Stone, etc. For an easy search, type in your film title at www.imdb.com, and click on “external reviews”, which will bring you to a page of links to reviews of your film. ONLY use respected sources! Your ideas should be the basis for the essay, and using critics’ reviews should only serve to compliment, explain, support, and expand upon YOUR ideas about the film.
* Students should make appointments with the writing center tutors NOW in order to have papers revised by the due date. There will be no extensions granted with this paper. Students who submit proof that they received tutoring either from the writing lab or online through GRADE RESULTS will receive extra points on the final paper.
NO HANGING QUOTES! Work each quote in as part of your own sentences in a grammatically and mechanically correct way. Cite the critic’s last name and page or paragraph number in parenthesis directly after the quote. Example:
The director uses first person narrative accounts, which “provide an emotional connection between the film and the audience” (Ebert, par. 4).
or (Ebert 4)—depending if you are using paragraph or page #’s.
Roger Ebert states, "the perspective provide[s] an emotional connection between the film and the audience" (par. 4), which keeps viewers interested in the film's content.
TIPS:
Do not use ... unless you are eliminating words from the MIDDLE of a quote.
Do not include the period at the end of a quote; it goes at the end of a sentence.
Use [] to indicate that you have added or removed letters/words from a quote in order for it to "fit" into your sentence correctly.
Do not place random quotes in your paper; every quote you use must be included purposefully. You indicate your purpose in the annotated bibliography.
The topic-based research can come from scholarly journals or books in the field of study. You must get this research from the LIBRARY! Only library databases such as Ebscohost, Infotrac, etc. will lead you to “expert” articles; do NOT rely on the internet! You can also research books on the topic; however, make sure that the book is scholarly and by an expert in the field. For example, a political account of global warming would not be appropriate, but one written by a leading researcher in the scientific community would. Which database you use will depend on which topic you pick; ask the librarian for help.
Plagiarism of any kind will not be tolerated. This includes using the EXACT standards for MLA citation. All points, ideas, or information that is not your own requires citation, whether it is quoted directly or not. This is YOUR evaluation, YOUR argument… the outside research will be used only to back up YOUR ideas.
ABSTRACT: You must have an abstract of your paper prepared. To write an abstract, write down your thesis statement, 4 topic statements, and a concluding (wrap-up) statement in paragraph form.
Remember: We write in the 3rd person (no I’s or You’s) and in the PRESENT TENSE.
How to BUILD A PARAGRAPH:
Topic Statement-- generally and simply introduces the topic. Example: Interviews are effectively incorporated into the film to relay personal examples and expert opinions to the audience.
Then, provide AT LEAST 3 examples for your claim. Make sure your examples include details from the film, QUOTES from your sources, and explanation/clarity of your connection between the topic and the proof.
Be sure that your quotes are properly worked in and are INTRODUCED and/or BLENDED-- NO HANGING QUOTES. Cite your quotes properly-- author's last name and page or paragraph # (usually).
Wrap-up with a summary statement and transition to the next topic.In-text Citation--What is in-text citation?
Books (Author’s Last Name and page number) Example:
“The use of water in the UAE has increased 15 percent since 1990” (Jones 34).Use the title if there is no obvious author. (Title page number)
Example:
“Sharjah is promoted as the capital of the Arabian Gulf” (Emirates Guide 3).If your Works Cited list entry starts with the article title, use the article title . (“Article Title” page number)
Example:
Results of a recent survey suggest that more tourists prefer eco-tourism adventures (“Tourism Study Results” 7).
If you include the author’s name in your sentence, use only the page number in the parenthesis:
Example:
Jones notes that the page number follows the sentence (54).
For a website with no author, use the webpage (or website) title for your in-text citation. If it is a long title, you can shorten it to the first three words.
Example:
According to their website, a breeding center for endangered Arabian animals started functioning in February 1998 ("Sharjah Natural History").
Two Types of In-Text Citation
1. QUOTATION:
When you use a quotation, “enclose the author’s last name and the relevant page number(s) within parentheses” (Smith, Jones, and Parks 781).
Example Two (to avoid plagarism):
Smith, Jones, and Parks note that “you can shorten a parenthetical note by naming the author of the source in the body of the essay; then the parenthetical note consists of a page number only” (782).
2. PARAPHRASE: USE LESS FREQUENTLY
“To avoid plagiarizing an author’s language... close the book, write from memory, and then open the book to check for accuracy” (Hacker 361).
Paraphrasing Example:
This is one method for avoiding plagiarism. Experts suggest a reflective approach by reading the original source, then writing down your understanding of the idea. Afterward the original source should be compared with your paraphrase to make sure it’s correct (Hacker 361).
Special In-Text Citation
ExamplesTwo different works by the same author
Guideline:
Put the title after the author’s name in the in-text citations. Separate the citations with a semi-colon.Example:
(Smith, MLA Style, 54; Smith, Understanding MLA, 78).
No author and very long article title
Guideline:
If the title in the reference source is very long, shorten the title to the first few words. Make sure that you include enough information for the reader to find the full publication details in your bibliography.
Example:
Shorten ("Sharjah Natural History Museum and Desert Park") to ("Sharjah Natural History")Website page numbersGuideline:
When citing a website, page numbers are not necessary. In special cases, you can give the number of the paragraph on the webpage.
Example:
”Numbering the paragraph helps the reader locate it within the webpage” (Smith, par. 6).
Topic Statement-- generally and simply introduces the topic. Example: Interviews are effectively incorporated into the film to relay personal examples and expert opinions to the audience.
Then, provide AT LEAST 3 examples for your claim. Make sure your examples include details from the film, QUOTES from your sources, and explanation/clarity of your connection between the topic and the proof.
Be sure that your quotes are properly worked in and are INTRODUCED and/or BLENDED-- NO HANGING QUOTES. Cite your quotes properly-- author's last name and page or paragraph # (usually).
Wrap-up with a summary statement and transition to the next topic.In-text Citation--What is in-text citation?
- A link in the body of your assignment to your bibliography.
- Offers enough information so that the reader can find the complete information in the bibliography.
- Written next to the information that has been taken from another source.
- May be written within a sentence or at the end of a sentence.
- Whenever you use information from another source in your report.
- To lead your reader to the correct entry in your Bibliography.
- To avoid plagiarizing.
Books (Author’s Last Name and page number) Example:
“The use of water in the UAE has increased 15 percent since 1990” (Jones 34).Use the title if there is no obvious author. (Title page number)
Example:
“Sharjah is promoted as the capital of the Arabian Gulf” (Emirates Guide 3).If your Works Cited list entry starts with the article title, use the article title . (“Article Title” page number)
Example:
Results of a recent survey suggest that more tourists prefer eco-tourism adventures (“Tourism Study Results” 7).
If you include the author’s name in your sentence, use only the page number in the parenthesis:
Example:
Jones notes that the page number follows the sentence (54).
For a website with no author, use the webpage (or website) title for your in-text citation. If it is a long title, you can shorten it to the first three words.
Example:
According to their website, a breeding center for endangered Arabian animals started functioning in February 1998 ("Sharjah Natural History").
Two Types of In-Text Citation
1. QUOTATION:
- When you use some else’s exact words.
- Always written inside double quotation marks: “ ” when the quotation is 4 or less typed lines.
A quotation helps support your arguement by showing that other experts agree with you.
When you use a quotation, “enclose the author’s last name and the relevant page number(s) within parentheses” (Smith, Jones, and Parks 781).
Example Two (to avoid plagarism):
Smith, Jones, and Parks note that “you can shorten a parenthetical note by naming the author of the source in the body of the essay; then the parenthetical note consists of a page number only” (782).
2. PARAPHRASE: USE LESS FREQUENTLY
- When you use someone else’s ideas but write it in your own words.
- Do not use quotation marks.
“To avoid plagiarizing an author’s language... close the book, write from memory, and then open the book to check for accuracy” (Hacker 361).
Paraphrasing Example:
This is one method for avoiding plagiarism. Experts suggest a reflective approach by reading the original source, then writing down your understanding of the idea. Afterward the original source should be compared with your paraphrase to make sure it’s correct (Hacker 361).
Special In-Text Citation
ExamplesTwo different works by the same author
Guideline:
Put the title after the author’s name in the in-text citations. Separate the citations with a semi-colon.Example:
(Smith, MLA Style, 54; Smith, Understanding MLA, 78).
No author and very long article title
Guideline:
If the title in the reference source is very long, shorten the title to the first few words. Make sure that you include enough information for the reader to find the full publication details in your bibliography.
Example:
Shorten ("Sharjah Natural History Museum and Desert Park") to ("Sharjah Natural History")Website page numbersGuideline:
When citing a website, page numbers are not necessary. In special cases, you can give the number of the paragraph on the webpage.
Example:
”Numbering the paragraph helps the reader locate it within the webpage” (Smith, par. 6).
FILM NOTES http://www.psu.edu/dept/inart10_110/inart10/film.html
Documentary films constitute a broad category of nonfictional motion pictures intended to document some aspect of reality, primarily for the purposes of instruction or maintaining a historical record.[1] A 'documentary film' was originally shot on film stock — the only medium available — but now includes video and digital productions that can be either direct-to-video, made as a television program or released for screening in cinemas. "Documentary" has been described as a "filmmaking practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear boundaries.[2]
Documentary films often have a political or social agenda. Decide what that agenda is-- it will help you evaluate your subject.
Modern documentaries One of 150 DV cameras used by Iraqis to film themselves and create the 2004 filmVoices of Iraq.Box office analysts have noted that this film genre has become increasingly successful in theatrical release with films such as Fahrenheit 9/11, Super Size Me, Earth, March of the Penguins, and An Inconvenient Truth among the most prominent examples. Compared to dramatic narrative films, documentaries typically have far lower budgets which makes them attractive to film companies because even a limited theatrical release can be highly profitable.
The nature of documentary films has expanded in the past 20 years from the cinema verité style introduced in the 1960s in which the use of portable camera and sound equipment allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and narrative and some works are very personal, such as the late Marlon Riggs's Tongues Untied(1989) and Black Is...Black Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than historical materials.[16]
Historical documentaries, such as the landmark 14-hour Eyes on the Prize: America's Civil Rights Years (1986 – Part 1 and 1989 – Part 2) by Henry Hampton, Four Little Girls (1997) by Spike Lee, and The Civil War by Ken Burns, UNESCO awarded independent film on slavery 500 Years Later, expressed not only a distinctive voice but also a perspective and point of views. Some films such as The Thin Blue Line by Errol Morris incorporated stylized re-enactments, andMichael Moore's Roger & Me placed far more interpretive control with the director. The commercial success of these documentaries may derive from this narrative shift in the documentary form, leading some critics to question whether such films can truly be called documentaries; critics sometimes refer to these works as "mondo films" or "docu-ganda."[17] However, directorial manipulation of documentary subjects has been noted since the work of Flaherty, and may be endemic to the form due to problematic ontological foundations.
Although the increasing popularity of the documentary genre, and the advent of DVDs, has made documentaries financially more viable, funding for documentary film production remains elusive. Within the past decade the largest exhibition opportunities have emerged from within the broadcast market, making filmmakers beholden to the tastes and influences of the broadcasters who have become their largest funding source.[18]
SIX KEY TERMS TO KNOW AND WATCH FOR IN DOCUMENTARIES
Some of the terminology that a film editor uses includes:
Close-up (CU): A shot showing a detail only (ex., face only or hands only).
Cross-cutting: Cutting back and forth between two or more events or actions that are taking place at the same time but in different places. Cross-cutting is used to build suspense or to show how different pieces of the action are related.
Cut: An abrupt transition from one shot to another.
Cutaways: A cut away from the primary subject to something the filmmaker has decided is equally or more relevant at that time. Often cutaways consist of shots showing the reaction of one character to another. This is often used to compress time in what appears to be a seamless manner.
Dissolve: An overlapping transition between scenes where one image fades out as another fades in. Editors often use this to indicate a change in time and/or location.
Establishing Shot: A shot, usually taken from a distance, which establishes for the viewer where the action is to occur and the spatial relationship of the characters and their setting.
Extreme Close-Up (ECU): A detail of a close-up (eyes or mouth only, etc.).
Fade In: A shot that starts in darkness and gradually lightens to full exposure.
Fade Out: A shot that starts at full exposure and gradually fades to black.
Freeze-Frame: At a chosen point in a scene, a particular frame is printed repeatedly, given the effect of halting or "freezing" the action.
Jump Cut: A cut where two spliced shots do not match in terms of time or place. A jump cut gives the effect that the camera is literally jumping around.
Long Shot (LS): A shot taken at a considerable distance from the subject. A long shot of a person is one in which the entire body is in frame.
Medium Shot (MS): A shot framing a subject at a medium range, usually a shot from the waist up.
Reverse cutting: A technique alternating over-the-shoulder shots showing different characters speaking. This is generally used in conversation scenes.
Sequence Shot: An entire scene or sequence that is one continuous camera shot. There is no editing.
Documentaries GlossaryAll About Documentaries Glossary Documentaries Glossary in One Site!www.peeplo.com/Documentaries+Glossary
Film Terms http://documentaries.about.com/od/terminology/Glossary.htmhttp://documentaries.about.com/od/introtodocumentaries/u/Documentaries101.htm
Auto-EthnicityEthnographically informed work made by members of communities that are the subjects of Western ethnography.Cinema VéritéFrench for "film truth," applied to documentaries in which there is a truthful live encounter between the filmmaker and the film's subject.CommentaryA narrative voice in the documentary that articulates an explicit argument.Compilation FilmsDocumentary films comprised entirely of archival footage.Crowdfunding - A Definition of CrowdfundingCrowdfunding refers to funding documentaries or other independent film projects by appealing to the public for donations.Demonstrative ProofEmphasis on making evidence persuasive, albeit not necessarily accurate.EditingThe juxtaposition of two or more shots to create a meaningful relationship between them. Editing is extremely important in documentary films, establishing both the film’s credibility and aesthetic.Ethnographic FilmsActuality films featuring indigenous peoples.Expository DocumentaryA nonfiction film that covers a subject by emphasizing verbal commentary and argumentative logic.Film Noir - Definition of Film NoirFilm Noir is a term used to describe a particular genre of cinema.FramingThe organization of the shot’s contents with respect to its outer borders.InterrotronA device that functions simultanously as a camera and TelePrompTer-like projector, to capture an interview subject's close up responses to questions posed during interviews.IntertitleText that appears periodically on screen to provide information such as the date, time and location of an event or identify the person on screen.Long TakeA continuous single shot of unusually long duration which eliminates the need to edit the scene.Masked InterviewAn interview in which the filmmaker is both off-camera and unheard.Observational ModeEmphasizing the filmmaker's engagement in observing and documenting a subject’s daily life and circumstances with an unobtrusive camera.Participatory ModeDocumentary film in which the emphasis on the interaction between the filmmaker and the film's subject.Performative ModeIn documentary filmmaking, where the emphasis is on the filmmaker’s subjective attitude or personal engagement with a subject, shown to evoke audience reaction.PerspectiveIn documentary filmmaking, the selection and arrangement of sounds and images to tacitly convey or imply the filmmaker’s point of view about a subject.Poetic ModeThe formal structural organization that emphasizes visual associations and impressionistic descriptive passages, tonal and rhythmic qualities in a documentary film, and de-emphasizes strictly linear or logical sequencing.RealismWhere the documentary film's emphasis is on the subject's state of mind and psychological outlook.ShotA single uninterrupted moving image that is recorded with a static or mobile camera.Voice of AuthoritySomeone whom we hear whose narrative voice represents the film.Voice OverAn off-camera narrative voice that comments about the images on screen.Shortlist or ShortlistedWith regard to the Oscars, this term is used to indicate that a documentary has been selected to be among the titles that will be considered for nomination for the Academy Award for Best Documentary.
Documentary films constitute a broad category of nonfictional motion pictures intended to document some aspect of reality, primarily for the purposes of instruction or maintaining a historical record.[1] A 'documentary film' was originally shot on film stock — the only medium available — but now includes video and digital productions that can be either direct-to-video, made as a television program or released for screening in cinemas. "Documentary" has been described as a "filmmaking practice, a cinematic tradition, and mode of audience reception" that is continually evolving and is without clear boundaries.[2]
Documentary films often have a political or social agenda. Decide what that agenda is-- it will help you evaluate your subject.
Modern documentaries One of 150 DV cameras used by Iraqis to film themselves and create the 2004 filmVoices of Iraq.Box office analysts have noted that this film genre has become increasingly successful in theatrical release with films such as Fahrenheit 9/11, Super Size Me, Earth, March of the Penguins, and An Inconvenient Truth among the most prominent examples. Compared to dramatic narrative films, documentaries typically have far lower budgets which makes them attractive to film companies because even a limited theatrical release can be highly profitable.
The nature of documentary films has expanded in the past 20 years from the cinema verité style introduced in the 1960s in which the use of portable camera and sound equipment allowed an intimate relationship between filmmaker and subject. The line blurs between documentary and narrative and some works are very personal, such as the late Marlon Riggs's Tongues Untied(1989) and Black Is...Black Ain't (1995), which mix expressive, poetic, and rhetorical elements and stresses subjectivities rather than historical materials.[16]
Historical documentaries, such as the landmark 14-hour Eyes on the Prize: America's Civil Rights Years (1986 – Part 1 and 1989 – Part 2) by Henry Hampton, Four Little Girls (1997) by Spike Lee, and The Civil War by Ken Burns, UNESCO awarded independent film on slavery 500 Years Later, expressed not only a distinctive voice but also a perspective and point of views. Some films such as The Thin Blue Line by Errol Morris incorporated stylized re-enactments, andMichael Moore's Roger & Me placed far more interpretive control with the director. The commercial success of these documentaries may derive from this narrative shift in the documentary form, leading some critics to question whether such films can truly be called documentaries; critics sometimes refer to these works as "mondo films" or "docu-ganda."[17] However, directorial manipulation of documentary subjects has been noted since the work of Flaherty, and may be endemic to the form due to problematic ontological foundations.
Although the increasing popularity of the documentary genre, and the advent of DVDs, has made documentaries financially more viable, funding for documentary film production remains elusive. Within the past decade the largest exhibition opportunities have emerged from within the broadcast market, making filmmakers beholden to the tastes and influences of the broadcasters who have become their largest funding source.[18]
SIX KEY TERMS TO KNOW AND WATCH FOR IN DOCUMENTARIES
- Music (to create or change a mood, enhance an idea, add meaning to visual material)
- Voiceover and narration (to tell the story more effectively, to comment, to make things more clear)
- Montage (the edited sequence of shots. Done to compress time, transition from one mood to another, create emotions in the viewer)
- Graphics and visuals (to help illustrate ideas, to make things clear)
- Experts (to add credibility, to make ideas solid, to support arguments)
- Camera angles and strategic camera use. (close-ups, long medium and wide shots, zooming, panning, tracking, dolly shots, tilts)
Some of the terminology that a film editor uses includes:
Close-up (CU): A shot showing a detail only (ex., face only or hands only).
Cross-cutting: Cutting back and forth between two or more events or actions that are taking place at the same time but in different places. Cross-cutting is used to build suspense or to show how different pieces of the action are related.
Cut: An abrupt transition from one shot to another.
Cutaways: A cut away from the primary subject to something the filmmaker has decided is equally or more relevant at that time. Often cutaways consist of shots showing the reaction of one character to another. This is often used to compress time in what appears to be a seamless manner.
Dissolve: An overlapping transition between scenes where one image fades out as another fades in. Editors often use this to indicate a change in time and/or location.
Establishing Shot: A shot, usually taken from a distance, which establishes for the viewer where the action is to occur and the spatial relationship of the characters and their setting.
Extreme Close-Up (ECU): A detail of a close-up (eyes or mouth only, etc.).
Fade In: A shot that starts in darkness and gradually lightens to full exposure.
Fade Out: A shot that starts at full exposure and gradually fades to black.
Freeze-Frame: At a chosen point in a scene, a particular frame is printed repeatedly, given the effect of halting or "freezing" the action.
Jump Cut: A cut where two spliced shots do not match in terms of time or place. A jump cut gives the effect that the camera is literally jumping around.
Long Shot (LS): A shot taken at a considerable distance from the subject. A long shot of a person is one in which the entire body is in frame.
Medium Shot (MS): A shot framing a subject at a medium range, usually a shot from the waist up.
Reverse cutting: A technique alternating over-the-shoulder shots showing different characters speaking. This is generally used in conversation scenes.
Sequence Shot: An entire scene or sequence that is one continuous camera shot. There is no editing.
Documentaries GlossaryAll About Documentaries Glossary Documentaries Glossary in One Site!www.peeplo.com/Documentaries+Glossary
Film Terms http://documentaries.about.com/od/terminology/Glossary.htmhttp://documentaries.about.com/od/introtodocumentaries/u/Documentaries101.htm
Auto-EthnicityEthnographically informed work made by members of communities that are the subjects of Western ethnography.Cinema VéritéFrench for "film truth," applied to documentaries in which there is a truthful live encounter between the filmmaker and the film's subject.CommentaryA narrative voice in the documentary that articulates an explicit argument.Compilation FilmsDocumentary films comprised entirely of archival footage.Crowdfunding - A Definition of CrowdfundingCrowdfunding refers to funding documentaries or other independent film projects by appealing to the public for donations.Demonstrative ProofEmphasis on making evidence persuasive, albeit not necessarily accurate.EditingThe juxtaposition of two or more shots to create a meaningful relationship between them. Editing is extremely important in documentary films, establishing both the film’s credibility and aesthetic.Ethnographic FilmsActuality films featuring indigenous peoples.Expository DocumentaryA nonfiction film that covers a subject by emphasizing verbal commentary and argumentative logic.Film Noir - Definition of Film NoirFilm Noir is a term used to describe a particular genre of cinema.FramingThe organization of the shot’s contents with respect to its outer borders.InterrotronA device that functions simultanously as a camera and TelePrompTer-like projector, to capture an interview subject's close up responses to questions posed during interviews.IntertitleText that appears periodically on screen to provide information such as the date, time and location of an event or identify the person on screen.Long TakeA continuous single shot of unusually long duration which eliminates the need to edit the scene.Masked InterviewAn interview in which the filmmaker is both off-camera and unheard.Observational ModeEmphasizing the filmmaker's engagement in observing and documenting a subject’s daily life and circumstances with an unobtrusive camera.Participatory ModeDocumentary film in which the emphasis on the interaction between the filmmaker and the film's subject.Performative ModeIn documentary filmmaking, where the emphasis is on the filmmaker’s subjective attitude or personal engagement with a subject, shown to evoke audience reaction.PerspectiveIn documentary filmmaking, the selection and arrangement of sounds and images to tacitly convey or imply the filmmaker’s point of view about a subject.Poetic ModeThe formal structural organization that emphasizes visual associations and impressionistic descriptive passages, tonal and rhythmic qualities in a documentary film, and de-emphasizes strictly linear or logical sequencing.RealismWhere the documentary film's emphasis is on the subject's state of mind and psychological outlook.ShotA single uninterrupted moving image that is recorded with a static or mobile camera.Voice of AuthoritySomeone whom we hear whose narrative voice represents the film.Voice OverAn off-camera narrative voice that comments about the images on screen.Shortlist or ShortlistedWith regard to the Oscars, this term is used to indicate that a documentary has been selected to be among the titles that will be considered for nomination for the Academy Award for Best Documentary.
Outline Packet for English 1301 Research Paper
The goals of your research paper are as follows: 1. Present a REVIEW of your documentary backed by 3-5 film reviews published in respected newspapers and/or magazines. 2. Present an overview of the TOPIC or ISSUE covered in the film backed by 3-5 academic articles, books, and/or relevant/scholarly websites. 3. Present an EVALUATION of the rhetorical and persuasive techniques used by the film director. 4. Present an UPDATE on the issue covered in the film.
The Works Cited page should contain 8-12 source citations, including at least 3 film reviews, 3 research articles/books/websites on the issue, 2-4 sources updating the issue and/or film subject, the film itself, and possibly even your textbook. Cite using CORRECT MLA FORMAT both internally and on the Works Cited page. Information about MLA format appears in your textbook, on Weebly, on your handouts, on the Purdue Owl website, etc.
The requirements are to write a six paragraph, 4 page research paper in MLA format. Organization of the paper should be as follows: Introduction, Issue Overview, Film Critique, Film Critique, Concession/Evaluation, Conclusion/Update.
Use the following guide/questions to create a basic outline for your paper. Turn the outline sections into paragraphs to include in your paper.
Introduction: [Include the following information…]
Lead-In: Hook the reader. One idea is to begin by introducing the general issue and defining your terms. Maybe you found an interesting quote you can use to frame the paper. Make your reader want to read on.
Be sure to include the name of your film, director, and a 2-3 sentence brief synopsis of the film as “background information” and “context” for your paper.
What is the goal or position of the film? Why was it made?
Has the film won any awards? What was its overall critical reception?
Your thesis should combine these elements: Director + Title + Issue + Evaluative Key Word + Goal Synopsis. Example: Josh Fox’s 2010 Gasland educates viewers on the implications of hydraulic fracturing and successfully illuminates the controversy behind blindly accepting this practice.
Body (Paragraph 2): [Explain the Issue…]
Define the terms of the issue. Example: If the issue presented in the film is fracking, then explain what that is.
Summarize the controversy surrounding the issue—why is it a big deal? What are the polarizing sides?
Connect the general issue to the movie itself.
Body (Paragraph 3), Film Critique: [Choose one “technique” employed by the director in order to present the issue]
Create a TOPIC STATEMENT that has a clear KEY WORD focused around ONE TECHNIQUE employed by the director that stands out to viewers that adequately conveys the point being made by the film. Examples: interviews, close-ups, humor, statistics/charts/graphs, animation, expert testimony, location/setting, emotional appeal (pathos), etc.
List specific examples of how/when this particular technique is used in the film (3 examples is optimal).
Look through your film reviews. Find relevant comments pertaining to this particular film technique (2-3 quotes are optimal).
Body (Paragraph 4), Film Critique: [Choose one other “technique” employed by the director in order to present the issue]
Create a TOPIC STATEMENT that has a clear KEY WORD focused around ONE TECHNIQUE employed by the director that stands out to viewers that adequately conveys the point being made by the film. Examples: interviews, close-ups, humor, statistics/charts/graphs, animation, expert testimony, location/setting, emotional appeal (pathos), etc.
List specific examples of how/when this particular technique is used in the film (3 examples is optimal).
Look through your film reviews. Find relevant comments pertaining to this particular film technique (2-3 quotes are optimal).
Body (Paragraph 5), Concession/Evaluation: [You will concede what the director could have done differently to make the point more effective. Too much/little pathos/logos/ethos? Fallacies? You will also want to review the fallacies and try to find if/when the filmmakers fall into the trap of using any.]
Assuming that you are arguing that the film is effective and why, I want you to think about one aspect of the film that stands out as needing improvement.
What kind of appeal is used most by the director (pathos, logos, ethos)—and is it over-used? If so, give specific examples (multiple examples).
Is there a type of appeal that is missing or under-used? Give specific examples from the film.
Find 1-2 fallacies that are either used by the director in his/her argument or pointed out by the director to prove a point. What type of fallacy did you find? List the type of fallacy and specific example(s) from the film. Examples of fallacies: ad hominem, hasty generalizations, red herring, etc. See your textbook, Weebly, etc.
Conclusion (Paragraph 6):
What is the value of the film as it pertains to the issue?
What is the value of film as a form of art?
Did this film help to shape peoples’ opinions, legislation, action, etc. pertaining to this issue?
What is the latest update on the issue- how does society feel about the issue now, what is happening at a local/state/national level, is there legislation pending, etc.? Be specific. Quote from your “update” articles.
Who should see this film and why?
What should viewers do after seeing this film? What is your call to action—inspiration behind the film and the research you’ve done?
**Be sure to reiterate the title/director of the film and the film’s value.
All research listed on the Works Cited page should be cited at least once in your paper. Each body paragraph and the conclusion should contain a minimum of 2-3 quotes each. All quotes should be introduced with an identifying tag, set up as an example with a colon, or blended. Citations (both internally and on the Works Cited page) should be in MLA format.
The goals of your research paper are as follows: 1. Present a REVIEW of your documentary backed by 3-5 film reviews published in respected newspapers and/or magazines. 2. Present an overview of the TOPIC or ISSUE covered in the film backed by 3-5 academic articles, books, and/or relevant/scholarly websites. 3. Present an EVALUATION of the rhetorical and persuasive techniques used by the film director. 4. Present an UPDATE on the issue covered in the film.
The Works Cited page should contain 8-12 source citations, including at least 3 film reviews, 3 research articles/books/websites on the issue, 2-4 sources updating the issue and/or film subject, the film itself, and possibly even your textbook. Cite using CORRECT MLA FORMAT both internally and on the Works Cited page. Information about MLA format appears in your textbook, on Weebly, on your handouts, on the Purdue Owl website, etc.
The requirements are to write a six paragraph, 4 page research paper in MLA format. Organization of the paper should be as follows: Introduction, Issue Overview, Film Critique, Film Critique, Concession/Evaluation, Conclusion/Update.
Use the following guide/questions to create a basic outline for your paper. Turn the outline sections into paragraphs to include in your paper.
Introduction: [Include the following information…]
Lead-In: Hook the reader. One idea is to begin by introducing the general issue and defining your terms. Maybe you found an interesting quote you can use to frame the paper. Make your reader want to read on.
Be sure to include the name of your film, director, and a 2-3 sentence brief synopsis of the film as “background information” and “context” for your paper.
What is the goal or position of the film? Why was it made?
Has the film won any awards? What was its overall critical reception?
Your thesis should combine these elements: Director + Title + Issue + Evaluative Key Word + Goal Synopsis. Example: Josh Fox’s 2010 Gasland educates viewers on the implications of hydraulic fracturing and successfully illuminates the controversy behind blindly accepting this practice.
Body (Paragraph 2): [Explain the Issue…]
Define the terms of the issue. Example: If the issue presented in the film is fracking, then explain what that is.
Summarize the controversy surrounding the issue—why is it a big deal? What are the polarizing sides?
Connect the general issue to the movie itself.
Body (Paragraph 3), Film Critique: [Choose one “technique” employed by the director in order to present the issue]
Create a TOPIC STATEMENT that has a clear KEY WORD focused around ONE TECHNIQUE employed by the director that stands out to viewers that adequately conveys the point being made by the film. Examples: interviews, close-ups, humor, statistics/charts/graphs, animation, expert testimony, location/setting, emotional appeal (pathos), etc.
List specific examples of how/when this particular technique is used in the film (3 examples is optimal).
Look through your film reviews. Find relevant comments pertaining to this particular film technique (2-3 quotes are optimal).
Body (Paragraph 4), Film Critique: [Choose one other “technique” employed by the director in order to present the issue]
Create a TOPIC STATEMENT that has a clear KEY WORD focused around ONE TECHNIQUE employed by the director that stands out to viewers that adequately conveys the point being made by the film. Examples: interviews, close-ups, humor, statistics/charts/graphs, animation, expert testimony, location/setting, emotional appeal (pathos), etc.
List specific examples of how/when this particular technique is used in the film (3 examples is optimal).
Look through your film reviews. Find relevant comments pertaining to this particular film technique (2-3 quotes are optimal).
Body (Paragraph 5), Concession/Evaluation: [You will concede what the director could have done differently to make the point more effective. Too much/little pathos/logos/ethos? Fallacies? You will also want to review the fallacies and try to find if/when the filmmakers fall into the trap of using any.]
Assuming that you are arguing that the film is effective and why, I want you to think about one aspect of the film that stands out as needing improvement.
What kind of appeal is used most by the director (pathos, logos, ethos)—and is it over-used? If so, give specific examples (multiple examples).
Is there a type of appeal that is missing or under-used? Give specific examples from the film.
Find 1-2 fallacies that are either used by the director in his/her argument or pointed out by the director to prove a point. What type of fallacy did you find? List the type of fallacy and specific example(s) from the film. Examples of fallacies: ad hominem, hasty generalizations, red herring, etc. See your textbook, Weebly, etc.
Conclusion (Paragraph 6):
What is the value of the film as it pertains to the issue?
What is the value of film as a form of art?
Did this film help to shape peoples’ opinions, legislation, action, etc. pertaining to this issue?
What is the latest update on the issue- how does society feel about the issue now, what is happening at a local/state/national level, is there legislation pending, etc.? Be specific. Quote from your “update” articles.
Who should see this film and why?
What should viewers do after seeing this film? What is your call to action—inspiration behind the film and the research you’ve done?
**Be sure to reiterate the title/director of the film and the film’s value.
All research listed on the Works Cited page should be cited at least once in your paper. Each body paragraph and the conclusion should contain a minimum of 2-3 quotes each. All quotes should be introduced with an identifying tag, set up as an example with a colon, or blended. Citations (both internally and on the Works Cited page) should be in MLA format.
Sample Research Paper Components:
These samples are based on a paper about the documentary Gasland, directed by Josh Fox.
Title: My Land, Your Land, Gas Land?
Introduction—frame/hook, background information, context, critical reception, thesis:
From childhood, we are all encouraged to pursue “The American Dream;” we will grow up, get a job, start a family, and buy a home. Imagine the thrill of accomplishing that dream; now imagine the frustration of knowing that all of it could be threatened by a practice known as hydraulic fracturing, or “facking.” Fracking is a process “designed to recover oil and gas from shale rock” (Shukman, par. 1). The industry is booming, and there are thousands of wells spanning 22 states (Hirija and Song, par. 1). These wells use tons of water and inject pollutants into the ground and air; laws that allow fracking in city limits compromise the health of families and the value of homes. Josh Fox’s 2010 Gasland was among the first films to shed light on the fracking industry and the concerns surrounding the practice. Through testimony of affected citizens and experts alike, the film builds a picture of an industry in dire need of government regulation. The film was well received by critics; it won numerous awards and was even nominated for an Oscar in the “Best Documentary Film” category. Josh Fox’s Gasland effectively educates the viewing public on the dangers of hydraulic fracturing and successfully illuminates the controversy behind blindly accepting this practice.
Issue—topic, explanation, sides, facts, connection to film:
As Fox explores in his film, the issue of hydraulic fracturing is controversial due to the potential negative impact the process can have on the environment and communities.
(Now I would build on the couple of facts I presented in the introduction. I would discuss why it is controversial—there are several reasons, and I would provide a short explanation of them all. I would cite my general issues sources, then connect the issue to the film again in the concluding sentence of the paragraph.)
Critique—topic, at least 3 specific examples, at least 3 quotes from sources, esp. FILM REVIEWS. **Note, cite for value & critique, not summary:
One of the highlights of the film Gasland is Fox’s use of location and setting. The film opens with “a gem of a money shot” (Turner, par. 1) on Fox’s family farm, which he has been offered a substantial amount of money to hand over to the oil and gas industry as a fracking cite. Fox uses pathos to his advantage, as he “zooms in on bubbling brooks brimming with fish” (Smith, par. 4), green grass, and blue skies, then shifts our attention to the environmental demise that can potentially come of this beautiful property if the “frackers” get hold of it. He then takes viewers on a journey to different areas of the country and shows us accounts of people who have been personally affected by gas fracking. For example, in one memorable scene of the film, viewers meet Mike Markham from Colorado, and he demonstrates how the water from his faucet can easily be lit on fire. These “jolting images of flammable tap water” (Nelson, par. 1) successfully call into question the effects of fracking on groundwater pollution. In another “sufficiently evocative” (Lanthier, par. 5) scene, he wears a gas mask while touring a polluted pool of wastewater in an area that was once “the open plains, suggesting an old America now unpurified” (par. 5). These, and other location-focused scenes like them serve to capture the viewers’ sense of nostalgia; in true from, Fox “romanticizes” nature in such a way that viewers will begin to dare any industry or corporation to taint such a picturesque setting.
Concession/Evaluation Sample:
While Fox uses all forms of persuasion to make his case, the film is lacking in some areas. At times, pathos is in abundance, such as when “Fox exits his car… to play the banjo with a gas mask on the middle of a field of natural gas drilling outposts” (Turner, par. 3). This type of over-the-top appeal to emotion is unnecessary, as the substance of Fox’s argument is already proven through his logical explanations of the dangers of fracking. The film is also stylistically lacking; Fox diligently explores “what is left of the “natural” American landscape but not much else” (Kahn, par. 6). Devoid of humor, fancy camera angles, or a memorable musical score, “some will find this style of documentary difficult to swallow” (Turner, par. 3). However, despite what the film lacks, Fox’s successful incorporation of beautiful scenery, calculated interviews, and shock value make it effective overall.
Conclusion—value, update, call to action...
In America, we enjoy freedom of speech, but that doesn’t mean that our voices are always heard. Josh Fox’s Gasland gives a voice to people who might not have otherwise been heard. He is the voice of the rural farmer being pressured off of his land due to the value of what lies underneath; the housewife worried that the fracking well up the street from her home is causing her child’s asthma and the chemical taste in her family’s drinking water; the man who grew up to accomplish the “American Dream,” that $156,000 mortgage, only to have a fracking site built 1000 feet from his home, thus devaluing his property and potentially endangering his family. This issue hits very close to home; in November 2014, citizens of Denton voted to ban fracking inside the city limits (Smith, par. 2). Despite the best efforts by this community, in May of 2015, newly-elected Governor Greg Abbott “signed legislation that would pre-empt local efforts to regulate a wide variety of drilling-related activities” (Malewitz, par. 1), effectively squashing Denton’s fracking ban. Decisions such as these have challenged citizens’ understanding of where local rights end and states’ rights begin. Earlier this year, rules were passed that would allow federal officials to inspect well sites and to mandate companies to publicly disclose the chemicals being used in the fracking process (Davenport, par. 7). While these rules will not give the citizens of Denton any power to re-enact their ban, “Obama administration officials hope that the federal rules will serve as de facto standard for state legislators” (par. 5). Fox’s Gasland daringly brings to light the controversy surrounding the practice of hydraulic fracturing, and the film’s call to action is often mentioned as an integral part of the public education and inspiration for change that has recently arisen regarding this issue. We should all take notice of this film; our “American Dream” may very well be at stake if we don’t.
Review your sample Works Cited Page that you were given in class!
Essays are due at 9:30 am on Monday!
These samples are based on a paper about the documentary Gasland, directed by Josh Fox.
Title: My Land, Your Land, Gas Land?
Introduction—frame/hook, background information, context, critical reception, thesis:
From childhood, we are all encouraged to pursue “The American Dream;” we will grow up, get a job, start a family, and buy a home. Imagine the thrill of accomplishing that dream; now imagine the frustration of knowing that all of it could be threatened by a practice known as hydraulic fracturing, or “facking.” Fracking is a process “designed to recover oil and gas from shale rock” (Shukman, par. 1). The industry is booming, and there are thousands of wells spanning 22 states (Hirija and Song, par. 1). These wells use tons of water and inject pollutants into the ground and air; laws that allow fracking in city limits compromise the health of families and the value of homes. Josh Fox’s 2010 Gasland was among the first films to shed light on the fracking industry and the concerns surrounding the practice. Through testimony of affected citizens and experts alike, the film builds a picture of an industry in dire need of government regulation. The film was well received by critics; it won numerous awards and was even nominated for an Oscar in the “Best Documentary Film” category. Josh Fox’s Gasland effectively educates the viewing public on the dangers of hydraulic fracturing and successfully illuminates the controversy behind blindly accepting this practice.
Issue—topic, explanation, sides, facts, connection to film:
As Fox explores in his film, the issue of hydraulic fracturing is controversial due to the potential negative impact the process can have on the environment and communities.
(Now I would build on the couple of facts I presented in the introduction. I would discuss why it is controversial—there are several reasons, and I would provide a short explanation of them all. I would cite my general issues sources, then connect the issue to the film again in the concluding sentence of the paragraph.)
Critique—topic, at least 3 specific examples, at least 3 quotes from sources, esp. FILM REVIEWS. **Note, cite for value & critique, not summary:
One of the highlights of the film Gasland is Fox’s use of location and setting. The film opens with “a gem of a money shot” (Turner, par. 1) on Fox’s family farm, which he has been offered a substantial amount of money to hand over to the oil and gas industry as a fracking cite. Fox uses pathos to his advantage, as he “zooms in on bubbling brooks brimming with fish” (Smith, par. 4), green grass, and blue skies, then shifts our attention to the environmental demise that can potentially come of this beautiful property if the “frackers” get hold of it. He then takes viewers on a journey to different areas of the country and shows us accounts of people who have been personally affected by gas fracking. For example, in one memorable scene of the film, viewers meet Mike Markham from Colorado, and he demonstrates how the water from his faucet can easily be lit on fire. These “jolting images of flammable tap water” (Nelson, par. 1) successfully call into question the effects of fracking on groundwater pollution. In another “sufficiently evocative” (Lanthier, par. 5) scene, he wears a gas mask while touring a polluted pool of wastewater in an area that was once “the open plains, suggesting an old America now unpurified” (par. 5). These, and other location-focused scenes like them serve to capture the viewers’ sense of nostalgia; in true from, Fox “romanticizes” nature in such a way that viewers will begin to dare any industry or corporation to taint such a picturesque setting.
Concession/Evaluation Sample:
While Fox uses all forms of persuasion to make his case, the film is lacking in some areas. At times, pathos is in abundance, such as when “Fox exits his car… to play the banjo with a gas mask on the middle of a field of natural gas drilling outposts” (Turner, par. 3). This type of over-the-top appeal to emotion is unnecessary, as the substance of Fox’s argument is already proven through his logical explanations of the dangers of fracking. The film is also stylistically lacking; Fox diligently explores “what is left of the “natural” American landscape but not much else” (Kahn, par. 6). Devoid of humor, fancy camera angles, or a memorable musical score, “some will find this style of documentary difficult to swallow” (Turner, par. 3). However, despite what the film lacks, Fox’s successful incorporation of beautiful scenery, calculated interviews, and shock value make it effective overall.
Conclusion—value, update, call to action...
In America, we enjoy freedom of speech, but that doesn’t mean that our voices are always heard. Josh Fox’s Gasland gives a voice to people who might not have otherwise been heard. He is the voice of the rural farmer being pressured off of his land due to the value of what lies underneath; the housewife worried that the fracking well up the street from her home is causing her child’s asthma and the chemical taste in her family’s drinking water; the man who grew up to accomplish the “American Dream,” that $156,000 mortgage, only to have a fracking site built 1000 feet from his home, thus devaluing his property and potentially endangering his family. This issue hits very close to home; in November 2014, citizens of Denton voted to ban fracking inside the city limits (Smith, par. 2). Despite the best efforts by this community, in May of 2015, newly-elected Governor Greg Abbott “signed legislation that would pre-empt local efforts to regulate a wide variety of drilling-related activities” (Malewitz, par. 1), effectively squashing Denton’s fracking ban. Decisions such as these have challenged citizens’ understanding of where local rights end and states’ rights begin. Earlier this year, rules were passed that would allow federal officials to inspect well sites and to mandate companies to publicly disclose the chemicals being used in the fracking process (Davenport, par. 7). While these rules will not give the citizens of Denton any power to re-enact their ban, “Obama administration officials hope that the federal rules will serve as de facto standard for state legislators” (par. 5). Fox’s Gasland daringly brings to light the controversy surrounding the practice of hydraulic fracturing, and the film’s call to action is often mentioned as an integral part of the public education and inspiration for change that has recently arisen regarding this issue. We should all take notice of this film; our “American Dream” may very well be at stake if we don’t.
Review your sample Works Cited Page that you were given in class!
Essays are due at 9:30 am on Monday!
OFFICIAL GRADE SHEET
Research Paper Grade Sheet For: ___________________________________ For each section listed below, you will be assigned a score. To achieve maximum amount of points in a given category, you must have fully met or exceeded the standard.
Form: 4 Points Each: (48)
_____ MLA Format (heading, spacing, margins, etc.)
_____ Title (creative, tied into paper, correctly written)
_____ Hook or Frame (creative, coherent, relevant)
_____ Background Information (adequate, relevant)
_____ Context (summarization of film; adequate, succinct)
_____ Thesis (clear, full, appropriate)
_____ Topic Statements (4 points for each body paragraph = 16)
_____ Social Commentary (in the conclusion, provides a relevant message)
_____ Issues Update (in the conclusion, 2 sent. min., knowledge of what is current about the topic)
Citations: (36)
_________/12 Number of Internal Citations in Paper (12 minimum)
_____ /24 Citations are not hanging and are correctly formatted
Grammar: 10 Points Each (30)
_____ Punctuation (commas, semi-colons, etc.)
_____ Mechanics (run-ons, fragments, clarity, etc.)
_____ Diction (word usage, word choice, spelling, etc.)
Content: 5 Points Each (30)
_____ Paragraph 1 (fully developed, 3 examples/support per paragraph, 5 sentence minimum, etc.)
_____ Paragraph 2 (same as above)
_____ Paragraph 3 (same as above)
_____ Paragraph 4 (same as above)
_____ Paragraph 5 (same as above)
_____ Paragraph 6 (same as above)
Overall Style: (6)
_____ /6 (Impression Score: creative, interesting, clear, well-written, academic, etc.)
Bibliography: 8 sources minimum + the film, 5 points each = 45 + 5 points for overall format = ______/50
TOTAL OVERALL GRADE: __________________/200
Grade Sheet Continued….
Presentation:
Slide Presentation, 10 Slide Topics Minimum: _________/10
Slide Content & Style: __________/10
3 Props: ___________/15
Handout, Content & Style: ________/10
Q & A Session—questions were asked, information was given: _________/10
Attendance on other presentation days: __________/10
Timing, Flow: ________/5
Peer Evaluation for Individual Contribution: ________/10
Total = _________/80
Preparations:
Outline, Draft, Group Meeting: _____________ / 20
Total = ________________/100
Research Paper Grade Sheet For: ___________________________________ For each section listed below, you will be assigned a score. To achieve maximum amount of points in a given category, you must have fully met or exceeded the standard.
Form: 4 Points Each: (48)
_____ MLA Format (heading, spacing, margins, etc.)
_____ Title (creative, tied into paper, correctly written)
_____ Hook or Frame (creative, coherent, relevant)
_____ Background Information (adequate, relevant)
_____ Context (summarization of film; adequate, succinct)
_____ Thesis (clear, full, appropriate)
_____ Topic Statements (4 points for each body paragraph = 16)
_____ Social Commentary (in the conclusion, provides a relevant message)
_____ Issues Update (in the conclusion, 2 sent. min., knowledge of what is current about the topic)
Citations: (36)
_________/12 Number of Internal Citations in Paper (12 minimum)
_____ /24 Citations are not hanging and are correctly formatted
Grammar: 10 Points Each (30)
_____ Punctuation (commas, semi-colons, etc.)
_____ Mechanics (run-ons, fragments, clarity, etc.)
_____ Diction (word usage, word choice, spelling, etc.)
Content: 5 Points Each (30)
_____ Paragraph 1 (fully developed, 3 examples/support per paragraph, 5 sentence minimum, etc.)
_____ Paragraph 2 (same as above)
_____ Paragraph 3 (same as above)
_____ Paragraph 4 (same as above)
_____ Paragraph 5 (same as above)
_____ Paragraph 6 (same as above)
Overall Style: (6)
_____ /6 (Impression Score: creative, interesting, clear, well-written, academic, etc.)
Bibliography: 8 sources minimum + the film, 5 points each = 45 + 5 points for overall format = ______/50
TOTAL OVERALL GRADE: __________________/200
Grade Sheet Continued….
Presentation:
Slide Presentation, 10 Slide Topics Minimum: _________/10
Slide Content & Style: __________/10
3 Props: ___________/15
Handout, Content & Style: ________/10
Q & A Session—questions were asked, information was given: _________/10
Attendance on other presentation days: __________/10
Timing, Flow: ________/5
Peer Evaluation for Individual Contribution: ________/10
Total = _________/80
Preparations:
Outline, Draft, Group Meeting: _____________ / 20
Total = ________________/100