Research Paper

    RESEARCH OR ANALYTICAL PAPER GUIDELINES

    This optional assignment gives you an opportunity to explore an area of film history—between 1950 and today—that interests you. Topic possibilities and approaches are numerous.

    RESEARCH PAPER: This focuses on some aspect of film history with emphasis on research using published material. Proper citations and complete bibliography of source materials are REQUIRED. Go to http://www.plagiarism.org/plagiarism-101/overview/. Click on “What is plagiarism?” Also read “Citing Sources” and “What’s a citation?” Click on “Citation styles” for specific examples. Follow either the parenthetical or footnote/endnote citation style of Chicago or MLA (Modern Language Association): http://www.plagiarism.org/citing-sources/citation-styles

    Documentation MUST be complete, and citations (including endnotes or footnotes and Works Cited or Bibliography) MUST be in an acceptable format to receive credit for this paper. FIVE (5) or more SCHOLARLY references are required. Beware of inaccurate information on Internet sites, including the open-source Wikipedia.
    If this is your first Film Studies class, I recommend that you write a research paper.

    GENERAL TOPIC AREAS:

    Technological Film History: technical developments of the 1950s that changed the course of film history and their impact on the artistic process, such as widescreen formats, 3-D or color; technological and aesthetic influences upon the development of deep-focus cinematography; the deterioration and preservation of color films; special effects in the cinema; sound; digital technology and the cinema.

    Industrial Film History: film financing; marketing, distribution and exhibition; labor relations in Hollywood; corporate studios and vertical integration; product placement in feature films; San Francisco Bay Area motion picture industry; current state of independent production.

    Social Film History: McCarthyism in Hollywood; censorship and the movies; the image of minority groups such as African Americans, Latinos, American Indians, Asians, women or GLBT; social problems as depicted on film (racial or ethnic prejudice, alcoholism, drug use, crime); image studies (depiction of the Vietnam War on film, politics on film; 9/11 on film); the effects of film on viewer behavior and attitude; film as a reflection of psychological and cultural identity; the star image and cult

    Aesthetic Film History: realism vs. formalism; auteur theory; psychoanalysis and the cinema; neoformalism; Marxist critique; mythologies; feminist approaches; genre study (Western, comedy, musical, science fiction, horror, drama); movements (Italian neorealism, French New Wave, Dogme95).

    Film History Research: compile an annotated list of scholarly film Web sites and/or databases on the Internet. Address their strengths and weaknesses, as well as how you assessed their credibility. Consider categorizing the material according to domain name suffix (com, edu, gov, mil, net, org).

    BIOGRAPHIES ARE UNACCEPTABLE.

    Please contact me if you need more specific topic ideas within the general areas suggested.

    ANALYTICAL PAPER: This paper demands thinking, defining and supporting your ideas about a specific film topic. Developing and communicating a critical judgment in writing is much more difficult than sharing an opinion in casual conversation. You may need to do some research and documentation in connection with your paper. This option is available only to those who have already completed at least one Film Studies course.

    GENERAL TOPIC AREAS:

    Themes: loss of individuality and fear of technology in science fiction films; inability to vanquish evil in contemporary horror films; the political, mythological or psychological implications of a film such as Star Wars, Lord of the Rings, The Golden Compass, District 9, The Hunger Games or Her; the impact of consumerist culture (American Beauty, Fight Club); unabashed patriotism or distrust of authority (Blackhawk Down and We Were Soldiers vs. Spartan; The Bourne Ultimatum and In the Valley of Elah; Argo and Zero Dark Thirty; American Sniper); the political or cultural activism of films such as Good Night, and Good Luck, Crash, Brokeback Mountain, Babel, Milk or 12 Years A Slave; analysis of the themes of any current release.

    Characterization: antiheroes in film noir; alienated youth in American films of the late 1960s; comic book heroes on film; explosive white male as depicted in Falling Down, The Bad Lieutenant, 187, The Funeral, Fight Club or The Master; female action heroes as depicted in La Femme Nikita, The Long Kiss Goodnight, The Matrix, Crouching Tiger, Hidden Dragon or The Hunger Games.

    Form: anti-traditional stylistics in film noir; French New Wave techniques in The 400 Blows; influence of music video, videogames and commercials on feature film style; the new narratives and fractured time of Jim Jarmusch, Julie Dash, Quentin Tarantino, John Sayles, Tom Tykwer, Steven Soderbergh,
    Alejandro González Iñárritu or Wong Kar-Wai; Peter Greenaway, Mike Figgis, Michael Haneke, Lars von Trier or Richard Linklater’s experiments with film form and theory.

    Comparison and contrast: remakes such as Breathless, Funny Games, Infernal Affairs or The Girl with the Dragon Tattoo; a film adaptation of a literary work such as Dracula, The Hours, The Pianist, No Country for Old Men, There Will Be Blood, The Perks of Being A Wallflower, Life of Pi or Gone Girl; a adaptation of a graphic novel; two directors with commonalities, such as Ingmar Bergman and Woody Allen; two similar films from different periods, such as a French New Wave film and Frances Ha.

    Genre groupings: formula plots, conventions, iconography.

    Auteur groupings: 2-3 films by the same director, cinematographer or screenwriter.

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