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QUESTIONS TO CONSIDER WHEN WRITING A PhD THESIS

Examiners are provided with information to assist with the marking of the thesis. The format and style of PhD theses can differ as it is expected that a thesis be written to the convention of that field. However examiners are asked to consider, where appropriate, eight questions. These are:

Does the candidate show sufficient familiarity with, and understanding and critical appraisal of, the relevant literature?

Does the thesis provide a sufficiently comprehensive investigation of the topic?

Are the methods and techniques adopted appropriate to the subject matter and are they properly justified and applied?

Are the results suitably set out and accompanied by adequate exposition and interpretation?

Are conclusions and implications appropriately developed and clearly linked to the nature and content of the research framework and findings?

Has/have the research question/questions been tested?

Is the literary quality and general presentation of the thesis of a suitably high standard?

Does the thesis as a whole constitute a substantive original contribution to knowledge in the subject area with which it deals?

Examiners are also asked to consider the following attributes:

The thesis demonstrates authority in the candidate’s field and shows evidence of command of knowledge in relevant fields;

It shows that the candidate has a thorough grasp of the appropriate methodological techniques and an awareness of their limitations;

It makes a distinct contribution to knowledge. Its contribution to knowledge rests on originality of approach and/or interpretation of the findings and, in some cases, the discovery of new facts;

It demonstrates an ability to communicate research findings effectively in the professional arena and in an international context;

It is a careful, rigorous and sustained piece of work demonstrating that a research “apprenticeship” is complete and the holder should be admitted to the community of scholars in the discipline.

It is expected that examiners consider the thesis solely on its merits as an independent piece of supervised research, irrespective of whether or not the thesis adopts an approach which may be considered as not falling within the mainstream or established research paradigm for the discipline, and irrespective of whether or not the approach to the research is the same as that which the examiner might have used in such a study.

Theses collection

UCL Library Services

Nottingham eTheses

The Glasgow Theses Service is a collection

The Warwick Research Archive Portal (WRAP)

Academic Publications eJournal

EBSCO Publishing

Questions of cinema

How recent theoretical debates have reworked twentieth century concepts such as hegemony, subalternity (postcolonialism) , resistance, and social transformation or revolution, all keywords in the consideration of the relation between art and politics and the mediations between text and social context.

vernacular modernism, cultural exchange, or intertextuality ?Has the cinema changed human perception, and if so, in what ways?

What are the political possibilities of cinema?

What are the artistic possibilities of cinema?

what is cinema?

How does popular music filter change the way we view images? How does film change the way we hear music? - Dont Look Back (Pennebaker, 1967), Gimme Shelter (Maysles, 1970), The Last Waltz (Martin Scorsese, 1978), Stop Making Sense (Jonathan Demme, 1985), American Graffiti (George Lucas, 1973), Something Wild (Jonathan Demme, 1986), Superstar: The Karen Carpenter Story (Todd Haynes, 1987), Last Days (Gus van Sant, 2005), Mystery Train (Jarmusch, 1989), Mo’ Better Blues (Spike Lee, 1990), Treme (David Simon and Eric Overmeyer, 2010), assorted music videos from Michel Gondry and Spike Jonze.

The Framing Effect: Influence Your Audience By Setting The Context

http://www.vanseodesign.com/web-design/framing-expectation-exposure-effect/

Film History

FILM IN THE SILENT ERA
GERMAN EXPRESSIONISM
SOVIET MONTAGE THEORY(1924 – 1930)
ITALIAN NEOREALISM (1942 - 1951)
STARS AND GENDER IN CLASSICAL HOLLYWOOD CINEMA
INDEPENDENT AMERICAN CINEMA / THE EXPERIMENTAL AMERICAN CINEMA (1920s - 1950s)
AUTHORSHIP IN THE CLASSICAL HOLLYWOOD CINEMA
FRENCH NEW WAVE
HOLLYWOOD RENAISSANCE (1964-1976)
AUTHORSHIP IN THE NEW HOLLYWOOD CINEMA
ASIAN CINEMA (CINEMA OF JAPAN)
AMERICAN INDEPENDENT FILMS

FILM STUDIES - TRINITY COLLEGE DUBLIN

FILM STUDIES 2009-2010
SCHOOL OF DRAMA, FILM AND MUSIC TRINITY COLLEGE DUBLIN
BCFilm: Film & Film Theory
Lecturer: Dr Paul McGuirk email: pauldmcguirk@gmail.com
Timetable:
Lectures: Monday 6-7 pm in JM Synge 2039; Thursday 6-7 pm in Thomas Davis 2043
Screenings: Monday 7-9 pm in JM Synge 2039

Course Outline
This Broad Curriculum course will trace the emergence and evolution of film and film theory from its origins in the late nineteenth and twentieth century to the present. Over that time many movements and theories of cinema have emerged and, in many cases, been eclipsed. The principal theoretical approaches will be examined and assessed in terms of their historical importance and their practical application. The development of cinema both as an art form and an industry will be examined and, in addition, consideration will be given to the various ways in which national cinemas have emerged and evolved over time. The aim of this course is to expose students to the diversity of filmmaking practices and provide them the theoretical tools that will allow them analyze the connections between cinema and the various social, economic and cultural contexts in which films have been produced.

Readings
There is a list of suggested readings for each week. This list is not meant to be exhaustive and it is hoped will encourage further independent research. Please ensure that you have read something from the list each week before you attend the lectures.

Lectures
Each week the first lecture will establish the context for the film in question. The second lecture will be more flexible and will aim to either provide a further lecture on a related topic or offer an opportunity for general discussion.

Screenings
There will be occasions when the film being screened exceeds the two-hour time slot.

Registration
Students must register for the course through the Broad Curriculum Website. If you wish to cancel your registration and drop out of the course then you must email the Broad Curriculum administration at bccourse@tcd.ie to de-register.

Assessment
An essay of 2500 words is required. You must achieve an overall mark of 40% to pass the course.
There will be no written final exam. You should also familiarise yourself with the Broad Curriculum
Assessment/Examination Regulations, which are on the Broad Curriculum website.
STUDENTS ARE ALSO REMINDED THAT IT IS THEIR RESPONSIBILITY TO BE FAMILIAR WITH TRINITY COLLEGE’S POLICIES CONCERNING PLAGIARISM
TWO copies of essay must be submitted for assessment. One copy should be handed in to the Drama office in the Samuel Beckett Centre. Another copy of the same essay should be submitted via Turnitin.com. Failure to submit via Turnitin.com will result in the essay not being assessed. Essays are not accepted via email. 2

COURSE OUTLINE – MICHAELMAS TERM 2009
Week One: No lectures or screening

Week Two: Early Cinema: Formalism & Expressionism
Screening: Sunrise (FW Murnau, US, 1927)
Suggested Readings:
Lucy Fischer, Sunrise: A Song of Two Humans (London: BFI Classics, 1998)
David A Cook, A History of Narrative Film,3rd Ed, (New York: Norton, 1996) pp. 115-122
Thompson & Bordwell, Film History: An Introduction (New York: McGraw Hill, 2003, pp. 174-8
Tom Gunning, ‘Early American Cinema’ in John Hill & Pamela Church Gibson, eds., The
Oxford Guide to Film Studies (Oxford University Press, 1998) pp.255-271
Tom Gunning, ‘The Cinema of Attractions: Early cinema, its spectator and the avant-garde’ in Thomas Elsaesser, ed. Early Cinema: Space, Frame & Narrative. (BFI, 1991) pp.56-62

Week Three: French Poetic Realism
Screening: Le Jour se lève (Marcel Carné, France, 1939)
Suggested Reading:
Maureen Turim, ‘Poetic Realism as psychoanalytical & ideological operation’
In Hayward & Vincendeau, eds. French Film: Texts & Contexts (Routledge, 2000)
Dudley Andrew, Mist of Regrets (Princeton UP, 1995) pp. 319-332
Thompson & Bordwell, Film History: An Introduction (McGraw Hill, 1994) pp. 328-332
David A Cook, A History of Narrative Film 3rd Ed (Norton, 1996) pp. 378-391)

Week Four: Classical Narrative
Screening: Casablanca (Michael Curtiz, US, 1942)
Suggested Readings:
Robert B Ray, A Certain Tendency of The Hollywood Cinema (Princeton UP, 1985) pp. 89-112
Richard Maltby, ‘A Brief Romantic Interlude: 3½ seconds of the Classical Hollywood Cinema’ in
Bordwell & Carroll, Post-Theory (U Wisconsin Press, 1996) pp. 434-459
Umberto Eco, ‘Casablanca: Intertextual Collage’, Faith in Fakes (Minerva, 1995) pp. 197-212
Robin Wood, America in the Movies (Columbia UP, 1989) pp. 24-28
Bordwell & Thompson, Film Art: An Introduction (McGraw Hill, 2001) pp. 68-90 & pp.415-418.
Pam Cook & Mieke Bernick, The Cinema Book (London: BFI, 1999) pp.39-42.

Week Five: Hollywood, Realism & Expressionism
Screening: Citizen Kane (Orson Welles, US, 1941) [Bank Holiday: Arrange own viewing]
Suggested Readings:
Marilyn Fabe, Closely Watched Films (University of California Press, 2004) pp.78-98
Laura Mulvey, Citizen Kane (London: BFI Classics, 1992)
Pauline Kael, The Best Film Ever Made (London: Methuen, 2002)
David Bordwell and Kristin Thompson, Film Art: An Introduction (McGraw Hill, 2001) pp.110-127.

Week Six: Film Noir
Screening: Double Indemnity (Billy Wilder, US, 1944).
Suggested Readings:
Richard Schickel, Double Indemnity (London: BFI Classics, 1996)
Frank Krutnik, In A Lonely Street: Film Noir, Genre & Masculinity (Routledge, 1991) pp. 137-163
James Naremore, More Than The Night (University of California Press, 1998) pp. 81-95
Janey Place, ‘Women in Film Noir’ in EA Kaplan, ed. Women in Film Noir (BFI, 1998) pp.47-68
Paul Schrader, ‘Notes on Film Noir’ Silver /Ursini, eds. Film Noir Reader (Limelight, 1998) pp. 53-64
Claire Johnston, ‘Double Indemnity’ in Kaplan, ed. Women In Film Noir(BFI, 1998) pp. 89-97

Week Seven: Study Week - No Lecture.

Week Eight: Italian Neo-Realism
Screening: Ladri di biciclette/ The Bicycle Thieves (Vittorio De Sica, Italy, 1948) 3
Suggested Readings:
Millicent Marcus, Italian Films in the Light of Neorealism (Princeton UP, 1986, pp. 54-75
Marilyn Fabe, Closely Watched Films (Berkeley: University of California Press, 2004) pp.99-121
Andre Bazin, ‘Bicycle Thieves’ in What Is Cinema II (U of California Press, 1971) pp. 47-60
Mark Shiel, Italian Neorealism: Rebuilding the Cinematic City (Wallflower, 2006)
Thompson & Bordwell, Film History: An Introduction (New York: McGraw Hill) 2003, pp.353-372
Week Nine: The French New Wave
Screening: Les 400 coups/ The 400 Blows (Francois Truffaut, France, 1959)
Suggested Readings:
Marilyn Fabe, Closely Watched Films (University of California Press, 2004) pp.120-134
Anne Gillain, ‘The Script of Delinquency’, Hayward & Vincendeau, eds (Routledge, 2000) pp. 142-157
Homes & Ingram, François Truffaut (Manchester UP, 1998) pp. 41-51; 127-130; 146-149.
François Truffaut, ‘A Certain Tendency in French Cinema’ in Graham & Vincendeau, eds.
The French New Wave: Critical Landmarks (Palgrave/Macmillan/BFI, 1968/2009) pp. 39-64
Andre Bazin, ‘La politique des auteurs’, Graham/Vincendeau, eds. The French New Wave, pp.130-48

Week Ten: Hollywood, Genre & Authorship
Screening: The Man Who Shot Liberty Valence (John Ford, US, 1962)
Suggested Reading:
Robert B Ray, A Certain Tendency of the Hollywood Cinema (Princeton UP) pp.215-243.
Jim Kitses, Horizons West: Directing the Western from Ford to Eastwood (BFI, 2004) pp. 118-125
Richard Slotkin, Gunfighter Nation (New York: Harper Perennial, 1992) pp. 1-26
Robert Warshow, ‘The Westerner’ in The Immediate Experience (Harvard UP, 1962/2001) pp. 105-204
Andre Bazin, ‘The Western: the American Film par excellence’ & ‘The Evolution of the Western’ in
What Is Cinema II (University of California Press, 1971) pp. 140-157

Week Eleven: The European Art Film
Screening: 8 ½ / Otto e mezzo (Federico Fellini, Italy, 1963)
Suggested Reading:
Marilyn Fabe, Closely Watched Films (University of California Press, 2004) pp. 152-172.
Peter Bondanella, The Films of Federico Fellini (Cambridge UP, 2002) pp. 93-116
_____ The Cinema of Federico Fellini (Princeton UP, 1992) pp.163-179

Week Twelve: The European Art Film
Screening: Persona (Ingmar Bergman, Sweden, 196 6)
Suggested Reading:
Lloyd Michaels, Ingmar Bergman’s Persona, Cambridge UP, 2000,
Christopher Orr, ‘Scenes from the Class Struggle in Sweden’ in Lloyd Michaels,
Ingmar Bergman’s Persona, Cambridge UP, 2000, pp. 86-109.
Susan Sontag, ‘Bergman’s Persona’ in Lloyd Michaels, Ingmar Bergman’s Persona,
Cambridge UP, 2000, pp. 62-85
Robin Wood, Ingmar Bergman (Studio Vista, 1969) pp. 143-159
_____ ‘Persona Revisited’, Sexual Politics & Narrative Film (Columbia UP, 1998) 4


Early Cinema: Formalism & Expressionism
French Poetic Realism
Hollywood, Realism & Expressionism
Classical Narrative
Film Noir
Italian Neo-Realism
The French New Wave
Hollywood, Genre & Authorship
The European Art Film

San Francisco State University

THE MA THESIS PROPOSAL AND THESIS: CINEMA STUDIES

PROCEDURES AND FORMAT

1. Two courses support the MA Thesis: Cine 897 and Cine 898. In the typical

scheme, 897 is taken in the Fall of the second year and 898 in the spring of the

second year. In 897 you prepare a Thesis Proposal and in 898 you submit a

completed Thesis.

The thesis is typically a written research paper of no more than 35 pp

maximum on a topic that you research and develop with faculty guidance.

Ideally, you will begin to plan your thesis in 700 and perhaps in 610

(Senior Seminar—devoted to research projects) during the first year, before enrolling

in 897, so that you can submit a Proposal for approval well before the end

of the fall term in second year and then proceed to complete research and begin

the writing phase before or during the December-January break.

If you do not complete the thesis by the University's deadline for submissions

in 898 in spring of the second year, the course is carried over as a form

of incomplete (SP—Satisfactory Progress). When you finally submit the approved

thesis, you then submit a Request for Grade Change form to have the "incomplete"

(SP) removed and a grade of "pass" recorded. The University's deadline

for the submission of the thesis is published in the Bulletin along with other deadlines

and is also available in the Graduate Division Office and on-line under the

Graduate Division.

The published deadline is for the submission of the Thesis after it has

been completely polished, properly formatted, and your Thesis committee has

signed off, signifying their approval. You must allow time for this process to occur.

A booklet is available in the Library, "Guidelines for the Preparation and

Submission of Theses and Written Creative Work," that covers the details of this

process. The details are not onerous but they must be followed scrupulously.

2. Cine 897.

The overall goal of Cine 897 is to help you find a good thesis and to organize

a solid essay on it. It gives you an opportunity to do research, explore a

topic, reflect on issues and structure an essay in a more leisurely manner than is

possible for a term paper in a single course. Used properly, 897 will make the

actual task of writing the thesis essay that much easier.

The actual Proposal follows the same basic format as the Mock Thesis

Proposal done in Cine 700. Please read the Bulletin discussion of the Thesis for

additional information. The normal thesis will be the length of a research term

paper, not to exceed 35 pages in length. The main parts of the Proposal are: A)

Statement of Thesis, B) Outline, C) Bibliography, D) Time Schedule.

A. Statement of Thesis (topic, perspective, significance, research tools)

In this 3-5 page section you should identify the subject or topic you propose

to address. You should establish some clear delimitation to it that will allow

you to complete a manageable thesis: American genre film is a valid thesis area,

but not a valid subject. It is too broad. The Aliens trilogy as science-fiction is better

delimited. A specific aspect of the trilogy, such as the representation of

women would be better still and a distinct thesis or idea about the representation

of women ideal.

This section should also address the significance of the topic: Why is it

important; what can we learn from studying it?

To the extent it is possible, you should also indicate what your perspective

(thesis, argument, or point of view) will be: what will you say about Robert

Altman’s use of sound; Derek Jarman's exploration of desire; the implications of

road movies where characters never reach their original destination; the representation

of young women in American and Iranian cinema; JFK and Bamboozled

in terms of their representation of history; the evolution of George Romero’s

Dead trilogy; strategies for representing the Other in ethnographic films, or about

selected films by three Algerian-French film directors. (These are all recent MA

thesis topics.)

Finally, you should give an indication of the research work that will be required

(interviews, archival research, reading, viewing, etc.). Normally this ties in

with indicating what approach you plan to take: psychoanalytic, phenomenological,

genre study, Marxist, cultural studies, feminist, post-structural, etc. You are

not obliged to adopt a specific methodology and adhere to it. You are encouraged

to treat methods, theories and approaches eclectically, as concepts and

tools that can assist you in the pursuit of you own specific topic and thesis or argument.

Simply indicate the type of research you anticipate needing to do—the

names of books and authors, the range of concepts that may make use of, travel

needs you may have, individuals you may want to interview, etc. Library research

and film viewing is the most common form of research and in many cases

will be entirely sufficient.

B. Outline.

In 2-4 pages you should produce a considered outline of the thesis.

Given that you are writing an essay, or polished term paper, this will usually

amount to two or three divisions with at least two or three levels of sub-division to

each division. A general division such as “I. Style in JFK,” for example, might be

followed by sub-divisions such as “A. Editing: The Tradition of Collage,” and “B.

“Blurring Fact and Speculation: The Historical Record and Its Reconstruction.”

Each sub-division might then be further divided into two or more parts. (This

structure is typical but not mandatory.)

Each division will cover a major aspect of the topic, but more important

than the specific divisions is that the entire thesis pursue a specific topic and examine

several aspects of it in depth. Close analysis of specific scenes, for example,

could take several pages and might alternate with more general observations

or a holistic or comparative nature. Finding a form or structure that suits

yours purposes is an important part of the planning. There is no one template.

This is something that your instructor in Cine 700 and your faculty advisor in 897

can help you formulate.

The outline should provide sufficient detail to identify the main parts or

divisions of the thesis. It should convey a clear sense of how each part is itself

well-delimited and contributory to the overall thesis or argument.

There is no one style of outline presentation that is mandatory. Use an

outline format that fits your own needs, but be sure it is understandable to others.

Don't be cryptic. In almost all cases it is better to use full sentences or longer

annotations rather than simply words or phrases since the latter seldom convey

your intentions clearly.

Consider the JFK example above.

The division devoted to collage techniques in JFK, for example, might be

annotated as “Collage mixes different media in a single work. It has been

prevalent in art work since the beginning of the 20th century. It often stresses the

constructed nature of the work itself and its use of found objects or materials.

Stone adapts this tradition to show how the history and interpretation of assassination

of Kennedy has itself been formed from diverse, often conflicting source

materials.”

A sub-division to this topic might be on color vs. black and white and it

could annotated as follows: “His use of black and white footage, e.g., sometimes

recreates events relatively faithfully (the path of the motorcade) but then also incorporates

elements that are more speculative (activity on the grassy knoll).

Black and white also creates a visual picture of the paramilitary training camp

that Jack Lemmon recounts seeing. Without comment these reenactments often

embed key characters in a presumed reality; Danny Ferry, e.g., is at the training

camp even though Jack Lemmon’s character is not particularly aware of him as a

figure.”

Such annotation should reflect your own thinking to date and help your

advisor provide feedback for further elaboration.

C. Filmography/Bibliography.

This should be a list of work you have already read or seen together with

additional work you anticipate using in the preparation of the thesis. It should be

at least two page long. It MUST follow the correct form for bibliographic and filmographic

entries as found in any of the standard reference works. There are

multiple formats, all of them are considered correct if they are followed consistently

and rigorously. The "Guidelines" booklet, e.g., cites Kate Turabian's A

MANUAL FOR WRITERS, as an acceptable reference source on format but

Turabian, like other reference sources, provides several different, alternative

systems. Choose and follow one precisely.

D. Time Schedule.

As you develop your thesis also develop a concrete plan for completing

it. You should submit a Schedule that indicates how you will complete the thesis

by the deadline, allowing time for feedback and revision. An outline of what you

hope to accomplish on a month by month basis between the end of fall term in

the second year and the deadline for submission of the thesis is normally sufficient.

Making us of the summer between first and second year is encouraged.

These materials constitute the Proposal; successful submission and

Defense of the Proposal constitutes authorization to proceed to 898 and the Thesis

proper.

897 is normally taken with the faculty member who will be your Thesis

supervisor (the Chair of your Thesis committee, which must consist of at least

two faculty from Cinema but can number as many as five faculty from anywhere

in the University or beyond.) The instructor of 897, however, can be any faculty

member who agrees to work with you. It is your responsibility to secure at least

one other faculty member to serve as the rest of your committee.

You submit these Proposal materials to your 897 instructor but simultaneously

you must put aThesis Committee in place. At a minimum this means

finding one other faculty member, who, on the basis of your Proposal, or preliminary

representations of it, will agree to serve on your thesis committee.

Before the conclusion of 897 you must schedule your Defense of the

Proposal with your Thesis Committee. This is a one hour session in which you

and your committee discuss your Proposal in detail and agree on a plan of action.

A successful defense qualifies you to take 898; lack of success results in a

grade of Incomplete which must be removed by a second Defense of the Proposal

or a new Proposal and Defense before advancing to 898.

3. Cine 898.

This course is supervised by the Chair of your Thesis Committee. Each member

of the Committee must sign the Signature Page of your thesis before you can

submit it, however. In this sense your entire committee is involved in your completion

of 898.

Be aware that you must plan backwards from the final due date for submitting

the approved thesis to ensure that you have enough time to meet the

deadline. For example, you may want to submit a draft of the essay or part of the

essay while still enrolled in 897 to get some feedback and be sure that the thesis

is on track. If this does not happen in 897 it should happen very early in the semester

you intend to graduate. It will usually take a few weeks for your faculty to

provide feedback. Revision (rewriting) is almost always necessary to some extent.

Near the end of this process, you will want to submit a draft of the entire

essay. Depending on how polished this draft is, how much consultation has occurred

with your supervisor, and how adequate your mastery of the topic is,

feedback may range from minor revision to substantive changes.

The final version of the thesis essay must be carefully checked for

grammar and spelling; all bibliographic entries must be complete and correctly

formatted. This final draft must be presented to the committee members for final

review while there are still at least a couple of weeks left before the deadline.

Ideally, only minor, if any, corrections remain after this stage. The final, fully corrected

thesis is then ready for submission. Please consult the semester calendar

in the Schedule of Classes or contact the Graduate Division for your specific

Thesis due date.

The last step before making the final submission is to obtain the signatures of

your committee members. These signatures validate your efforts and authorize

granting the M.A. degree.

4. These procedures may seem "fussy," especially when they are all condensed

onto a single Guideline. When they take place in real life over the course of several

months they are far less onerous. Cine 700 reviews them in detail. The main

challenge is to conceive a topic of genuine interest to you, to delimit it enough so

that you can produce a manageable thesis, to move through the draft phases

with reasonable dispatch, and to complete the fine tuning expeditiously.

You have two courses and a full academic year to write one essay of no

more than 35 pages. This is entirely possible. The greatest risks are inertia, often

caused by over-preparing, momentum, not knowing how or when to stop and

distractions, often related to opportunities to serve as a Teaching Assistant and

become involved in other aspects of the Department. This must be kept in balance.

The Department's objective is to help you complete the MA program in a

timely, rewarding fashion, not to add unnecesssary hurdles, create difficulties

and discourage progress. If you encounter problems, do not hesitate to consult

with your thesis supervisor or other faculty members.

Graduate Advisor

Cinema Department

Fine Arts Building, room 243

San Francisco State University

1600 Holloway Avenue

San Francisco, CA 94110-4157