The Final Project-- The Research Paper
English 1301: Research Project:
A Researched Evaluation of an Argument
TURNITIN info:
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.
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. 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 "issues" paper you just wrote! You can use the same sources... Lucky for you, this part is practically already written!
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 2009. 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. This is due for a grade on along with your outlines. You will be asked to bring this to class; we will revise this in class for a GRADE.
Remember: We write in the 3rd person (no I’s or You’s) and in the PRESENT TENSE.
THE ANNOTATED BIBLIOGRAPHY: [Not relevant for Fall 2013]
The Annotated Bibliography of your sources is worth a substantial grade (50 Points). An annotation is just an MLA citation in your bibliography with a short paragraph underneath it. The first 4 sentences of the annotation summarize the article; the last sentence tells how you used that article in your paper.
Here's an example of an annotation of a movie review-- do this for ALL of your sources:
Brasor, Philip. “Going All the Way Over the Wall.” Rev. of Hedwig And The Angry Inch dir. by John Cameron Mitchell. The Japan
Times online. The Japan Time, 27 February 2002. Web. 21 February 2010.
This review gives a backdrop and short synopsis of the film. Brasor incorporates the songs and their meanings into his review. He speaks more about the music and what they mean than the film. He states that this film described more as burlesque, but has a deeper meaning. “Mitchell’s themes are more formidable, and he makes rock serve these themes rather than the other way.” He also talks about the characterization of Mitchell’s Hedwig. I used this in my paper to describe the song, “The Origin of Love”.
NOT APPLICABLE FOR FALL 2013
Presentation: You will lead a 15-20 minute presentation on your film project. You will do this presentation with your partner (if you have one). You must turn in separate research papers, but the presentation is a collaboration. The presentation must include a 2-3 minute film clip, a handout (about the issue presented in the film), and some other visual element (poster, collage, material objects that represent something about the film, etc.). You may also bring refreshments during your presentation. You should not read your essays to the class; instead, give the class an overview of the film, the topic presented in the film, and how the film has impacted or can impact society. Please be ready to ask questions of your classmates, as well as answer them about your project. This is worth a significant portion of your grade, and credit for the assignment is partially dependent on showing up for ALL presentations. We will develop a presentation schedule in the coming weeks.
More on the Annotated Bibliography:
Stem Cell Research: An Annotated BibliographyHolland, Suzanne. The Human Embryonic Stem Cell Debate: Science, Ethics, and Public
Policy. Boston: MIT Press, 2001. Print.
This is the annotation of the above source, which is formatted according to MLA 2009 (7th ed.) guidelines for the bibliographic information listed above. If I were really writing an annotation for this source, I would offer a brief summary of what this book says about stem cell research.
Afterwards, I'd provide a sentence stating how I used the article in my research paper.
Senior, K. "Extending the Ethical Boundaries of Stem Cell Research."Trends in Molecular Medicine 7 (2001): 5-6. Print.
4 sentence summary + 1 sentence how used in the paper.
Wallace, Kelly. "Bush Stands Pat on Stem Cell Policy." CNN. 13 August 2001. 17 August 2001. Television.
Notice that in this example, I chose a variety of sources: a book, a scholarly journal, and a web page. Using a variety of sources can help give you a broader picture of what is being said about your topic. You may want to investigate how scholarly sources are treating this topic differently than more popular sources. But again, if your assignment is to only use scholarly sources, then you will probably want to avoid magazines and popular web sites.
Notice that the bibliographic information above is proper MLA format (use whatever style is appropriate in your field) and the annotations are in paragraph form. Note also that the entries are alphabetized by the first word in the bibliographic entry.
Hunter, Stephen. “Hedwig: To Halve And Have Not.” Rev. Hedwig And The Angry Inch” dir. by John Cameron Mitchell. The
Washington Post online. The Washington Post. 03 August 2001. Web. 21 February 2010.
This review hardly gives a synopsis of the film, but does discuss the film as a whole. Hunter mentions that precautions should be taken if one decides to watch the film; like a disclaimer. He states that the music of the film is “full of anger, bitterness, self-hatred, and energy.” The songs express all the moods Hedwig feels throughout the film. He speaks in favor of this film. Hunter speaks highly of the director and the music composer, be he also speaks highly about the actors in the film. I used this in my paper to support Mitchell’s work on the film as both director/actor
Hedwig And The Angry Inch. Dir. John Cameron Mitchell. New Line Cinema, 2001.
This film, created by John Cameron Mitchell, recounts the life of Hedwig, the lead singer of the band called The Angry Inch. It is a story told through music, short narratives, and hand-drawn animation. The band is following around Tommy Gnosis, Hedwig’s ex-lover who stole her music and became famous, playing a chain of Bilgewater restaurant. The music, written by Stephen Trask, capture the essence of the speeches made in Plato’s Symposium. It is a story of looking for completion and self discovery. I used quotes from the film to support my explanations of Hedwig.
Nehamas, Alexander. “Only in the Contemplations of Beauty is Human Life Worth Living, Plato, Symposium.” European Journal
of Philosophy 15.1 (2006): 1-18. Academic Search Premier. Web. 21 February 2010.
This article’s main idea is how to attain being whole through the philosophies of Plato and Gregory Vlastos, who is a critique of Plato’s work. The main speech used in Nehamas’ article is Socrates’ conversation with Diatoma, a prophetess. It speaks of the “ladder of knowledge” and how might be able to ascend said ladder. He touches other speech’s too, but the particular dialogue between Socrates and Diatoma supports “the contemplation of beauty” and its worth to human life. It is a rather long, boring article, but I found it useful to support my paragraph in which I discuss Diatoma’s speech.MORE EXAMPLES:
Here is a sample of an annotation:
Kerr, Frances. "Feeling Half-Feminine: Modernism and the Politics of Emotion The Great Gatsby." American Literature 68 (1996): 405-31.
This is A brilliant analysis of the homoerotics in the novel-- Nick's attraction to McKee and to Gatsby. Kerr thinks the tennis girl with sweat on her lip is Jordan (which I think is wrong); shenotes that Jordan has more control over her emotions than the other women in the novel (Daisy and Myrtle). Kerr argues that Nick's narrative about his dumping her "leads the reader to believe that it is Jordan's indifference, shallowness, and dishonesty that prompt his move. The psychological subtext of Gatsby, however, suggests a motivation entirely different. Nick Carraway identifies with and feels most romantically drawn not to 'masculine' women but to 'feminine' men"(418). I used this article in my paper as proof of Nick’s attraction to men to support my case that he is, in fact, homosexual.
Sample citation of a movie review:
Ebert, Roger. "Twilight". Rev. of Twilight dir. by Catherine Hardwicke. Chicago-Sun Times online. Chicago Sun-Times, 20 October 2008.
Web. 02 November 2009.
To cite your reviews internally, since you don't have page numbers, you will use paragraph numbers. Example: (Ebert, par. 4).
If you have an article that has page numbers, or a book, then it looks like this:
(Martin 127).
Citations with paragraphs need a comma; citations with page numbers do NOT need a comma.
Sample citation of an article in an online database (like Ebschohost or Infotrac).
Martin, John. "Global Warming Strategies." Journal of Science 10.4 (2007): 145-167.
Ebschohost. Web. 02 November 2009.
Notice that the title of the journal is in italics; what follows is the volume and issue numbers, year of publication, page numbers, search database, and date you retrieved the article.Article on an online...
Junge, Wolfgang, and Nathan Nelson. “Nature's Rotary Electromotors.” Science 29 Apr. 2005: 642-44. Science Online. Web. 5 Mar. 2009.
Langhamer, Claire. “Love and Courtship in Mid-Twentieth-Century England.” Historical Journal 50.1 (2007): 173-96. ProQuest. Web. 27 May 2009.
Article in an online periodical:
If pagination is unavailable or is not continuous, use n. pag. in place of the page numbers.
Chaplin, Heather. "Epidemic of Extravagance." Salon 19 Feb. 1999: n. pag. Web. 12 July 1999.
Doe, John. "Climate Change Issues." New York Times 20 Dec. 2010: 8 pag. Web. 20 October 2011.
A Page on a Web SiteFor an individual page on a Web site, list the author or alias if known, followed by the information covered above for entire Web sites. Remember to use n.p. if no publisher name is available and n.d. if no publishing date is given.
"How to Make Vegetarian Chili." eHow.com. eHow, n.d. Web. 24 Feb. 2009.
Stem Cell Research: An Annotated BibliographyHolland, Suzanne. The Human Embryonic Stem Cell Debate: Science, Ethics, and Public
Policy. Boston: MIT Press, 2001. Print.
This is the annotation of the above source, which is formatted according to MLA 2009 (7th ed.) guidelines for the bibliographic information listed above. If I were really writing an annotation for this source, I would offer a brief summary of what this book says about stem cell research.
Afterwards, I'd provide a sentence stating how I used the article in my research paper.
Senior, K. "Extending the Ethical Boundaries of Stem Cell Research."Trends in Molecular Medicine 7 (2001): 5-6. Print.
4 sentence summary + 1 sentence how used in the paper.
Wallace, Kelly. "Bush Stands Pat on Stem Cell Policy." CNN. 13 August 2001. 17 August 2001. Television.
Notice that in this example, I chose a variety of sources: a book, a scholarly journal, and a web page. Using a variety of sources can help give you a broader picture of what is being said about your topic. You may want to investigate how scholarly sources are treating this topic differently than more popular sources. But again, if your assignment is to only use scholarly sources, then you will probably want to avoid magazines and popular web sites.
Notice that the bibliographic information above is proper MLA format (use whatever style is appropriate in your field) and the annotations are in paragraph form. Note also that the entries are alphabetized by the first word in the bibliographic entry.
Hunter, Stephen. “Hedwig: To Halve And Have Not.” Rev. Hedwig And The Angry Inch” dir. by John Cameron Mitchell. The
Washington Post online. The Washington Post. 03 August 2001. Web. 21 February 2010.
This review hardly gives a synopsis of the film, but does discuss the film as a whole. Hunter mentions that precautions should be taken if one decides to watch the film; like a disclaimer. He states that the music of the film is “full of anger, bitterness, self-hatred, and energy.” The songs express all the moods Hedwig feels throughout the film. He speaks in favor of this film. Hunter speaks highly of the director and the music composer, be he also speaks highly about the actors in the film. I used this in my paper to support Mitchell’s work on the film as both director/actor
Hedwig And The Angry Inch. Dir. John Cameron Mitchell. New Line Cinema, 2001.
This film, created by John Cameron Mitchell, recounts the life of Hedwig, the lead singer of the band called The Angry Inch. It is a story told through music, short narratives, and hand-drawn animation. The band is following around Tommy Gnosis, Hedwig’s ex-lover who stole her music and became famous, playing a chain of Bilgewater restaurant. The music, written by Stephen Trask, capture the essence of the speeches made in Plato’s Symposium. It is a story of looking for completion and self discovery. I used quotes from the film to support my explanations of Hedwig.
Nehamas, Alexander. “Only in the Contemplations of Beauty is Human Life Worth Living, Plato, Symposium.” European Journal
of Philosophy 15.1 (2006): 1-18. Academic Search Premier. Web. 21 February 2010.
This article’s main idea is how to attain being whole through the philosophies of Plato and Gregory Vlastos, who is a critique of Plato’s work. The main speech used in Nehamas’ article is Socrates’ conversation with Diatoma, a prophetess. It speaks of the “ladder of knowledge” and how might be able to ascend said ladder. He touches other speech’s too, but the particular dialogue between Socrates and Diatoma supports “the contemplation of beauty” and its worth to human life. It is a rather long, boring article, but I found it useful to support my paragraph in which I discuss Diatoma’s speech.MORE EXAMPLES:
Here is a sample of an annotation:
Kerr, Frances. "Feeling Half-Feminine: Modernism and the Politics of Emotion The Great Gatsby." American Literature 68 (1996): 405-31.
This is A brilliant analysis of the homoerotics in the novel-- Nick's attraction to McKee and to Gatsby. Kerr thinks the tennis girl with sweat on her lip is Jordan (which I think is wrong); shenotes that Jordan has more control over her emotions than the other women in the novel (Daisy and Myrtle). Kerr argues that Nick's narrative about his dumping her "leads the reader to believe that it is Jordan's indifference, shallowness, and dishonesty that prompt his move. The psychological subtext of Gatsby, however, suggests a motivation entirely different. Nick Carraway identifies with and feels most romantically drawn not to 'masculine' women but to 'feminine' men"(418). I used this article in my paper as proof of Nick’s attraction to men to support my case that he is, in fact, homosexual.
Sample citation of a movie review:
Ebert, Roger. "Twilight". Rev. of Twilight dir. by Catherine Hardwicke. Chicago-Sun Times online. Chicago Sun-Times, 20 October 2008.
Web. 02 November 2009.
To cite your reviews internally, since you don't have page numbers, you will use paragraph numbers. Example: (Ebert, par. 4).
If you have an article that has page numbers, or a book, then it looks like this:
(Martin 127).
Citations with paragraphs need a comma; citations with page numbers do NOT need a comma.
Sample citation of an article in an online database (like Ebschohost or Infotrac).
Martin, John. "Global Warming Strategies." Journal of Science 10.4 (2007): 145-167.
Ebschohost. Web. 02 November 2009.
Notice that the title of the journal is in italics; what follows is the volume and issue numbers, year of publication, page numbers, search database, and date you retrieved the article.Article on an online...
Junge, Wolfgang, and Nathan Nelson. “Nature's Rotary Electromotors.” Science 29 Apr. 2005: 642-44. Science Online. Web. 5 Mar. 2009.
Langhamer, Claire. “Love and Courtship in Mid-Twentieth-Century England.” Historical Journal 50.1 (2007): 173-96. ProQuest. Web. 27 May 2009.
Article in an online periodical:
If pagination is unavailable or is not continuous, use n. pag. in place of the page numbers.
Chaplin, Heather. "Epidemic of Extravagance." Salon 19 Feb. 1999: n. pag. Web. 12 July 1999.
Doe, John. "Climate Change Issues." New York Times 20 Dec. 2010: 8 pag. Web. 20 October 2011.
A Page on a Web SiteFor an individual page on a Web site, list the author or alias if known, followed by the information covered above for entire Web sites. Remember to use n.p. if no publisher name is available and n.d. if no publishing date is given.
"How to Make Vegetarian Chili." eHow.com. eHow, n.d. Web. 24 Feb. 2009.
The Choices
See choices page. Your choices have already been made.
FILM NOTES
http://www.psu.edu/dept/inart10_110/inart10/film.html
Documentary films constitute a broad category of nonfictional motion pictures intended todocument 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 documentariesOne 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 todocument 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 documentariesOne 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
Outline for your essay:
Lead In [This sentence should introduce the general topic at hand, i.e. ‘global warming’, ‘universal healthcare’, ‘religious indoctrination’, etc. It should not mention the film or research, just a general acknowledgement, observation, or comment about the topic in general].
Connection [This sentence connects the general topic to the research project specifically.]
PLOT Summary/CONTEXT- 1-2 sentence of context explaining the plot and people of the film.
Goal of Film [You should state the intended goal of the filmmaker (inform, persuade, call to action, enlighten, etc.) and how it was received by the critics (Did it win awards? Acknowledgements?)
THESIS STATEMENT 2-Parts [Should be evaluative in stating whether or not the film (mention title and director(s) succeeds in whatever its goal is… it should also clearly sum up the “plot” of the film]
BODY PARAGRAPHS
Fill out one of the following for EACH body paragraph:
TOPIC STATEMENT: _____________________________________________________________________
Point:________________________________________________________________________________
Proof (quotes): ________________________________________________________________________
Discussion:____________________________________________________________________________
Point:________________________________________________________________________________
Proof:________________________________________________________________________________
Discussion:____________________________________________________________________________
Transition:____________________________________________________________________________
Key Words [list key words from the topic here]:
NOTES:
· I want to see one of the above filled out for each of the following paragraphs:
1. The issue—further introduce the topic at hand and present the overall research about the topic.
· 2. The whos/whats/whens/wheres/whys of the film.
· 3. Film stylistics (this can be a paragraph on a type of shot, narrative device, etc. choose from your film terms).For example, if you say that the filmmaker uses interviews as a technique and this adds to the effectiveness of the film, you would follow that up with a few examples from the film and quotes from your sources.
· 4. Another aspect of a stylistic device used in the film.
· 5. Concession / Fallacy (if you are praising the film, here’s where you talk about the weakest aspect of it; please mention and give an example of at least one fallacy discussed in your textbook. Remember to transition by bringing it back to your point of view).
· Write something in each blank, including the key words box, for EACH body paragraph!
Conclusion:
Recap (but don’t restate in the same way) the thesis. Give final evaluation (something like a thumbs up or down, but you can be creative). Also, update readers on the issue—what has changed in regards to the issue since the film was released? What impact did the film have and could it have if viewed on a more massive scale? What is the overall message of the film, and what overall impression do you want readers to take away from the research? Recap. End by circling back to the beginning; referencing your title is a nice touch. Make some notes about how you’ll approach this; write them on the lines below.
_________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________
Lead In [This sentence should introduce the general topic at hand, i.e. ‘global warming’, ‘universal healthcare’, ‘religious indoctrination’, etc. It should not mention the film or research, just a general acknowledgement, observation, or comment about the topic in general].
Connection [This sentence connects the general topic to the research project specifically.]
PLOT Summary/CONTEXT- 1-2 sentence of context explaining the plot and people of the film.
Goal of Film [You should state the intended goal of the filmmaker (inform, persuade, call to action, enlighten, etc.) and how it was received by the critics (Did it win awards? Acknowledgements?)
THESIS STATEMENT 2-Parts [Should be evaluative in stating whether or not the film (mention title and director(s) succeeds in whatever its goal is… it should also clearly sum up the “plot” of the film]
BODY PARAGRAPHS
Fill out one of the following for EACH body paragraph:
TOPIC STATEMENT: _____________________________________________________________________
Point:________________________________________________________________________________
Proof (quotes): ________________________________________________________________________
Discussion:____________________________________________________________________________
Point:________________________________________________________________________________
Proof:________________________________________________________________________________
Discussion:____________________________________________________________________________
Transition:____________________________________________________________________________
Key Words [list key words from the topic here]:
NOTES:
· I want to see one of the above filled out for each of the following paragraphs:
1. The issue—further introduce the topic at hand and present the overall research about the topic.
· 2. The whos/whats/whens/wheres/whys of the film.
· 3. Film stylistics (this can be a paragraph on a type of shot, narrative device, etc. choose from your film terms).For example, if you say that the filmmaker uses interviews as a technique and this adds to the effectiveness of the film, you would follow that up with a few examples from the film and quotes from your sources.
· 4. Another aspect of a stylistic device used in the film.
· 5. Concession / Fallacy (if you are praising the film, here’s where you talk about the weakest aspect of it; please mention and give an example of at least one fallacy discussed in your textbook. Remember to transition by bringing it back to your point of view).
· Write something in each blank, including the key words box, for EACH body paragraph!
Conclusion:
Recap (but don’t restate in the same way) the thesis. Give final evaluation (something like a thumbs up or down, but you can be creative). Also, update readers on the issue—what has changed in regards to the issue since the film was released? What impact did the film have and could it have if viewed on a more massive scale? What is the overall message of the film, and what overall impression do you want readers to take away from the research? Recap. End by circling back to the beginning; referencing your title is a nice touch. Make some notes about how you’ll approach this; write them on the lines below.
_________________________________________________________________________________________
________________________________________________________________________________________
________________________________________________________________________________________