personal study essay research

1. Personal Study
Project
Unit 12 Specialist study in creative media production

2. Personal Study Project
You will need to produce
1. A research document
• Collection of quotes and summarised information based around your topic
• This should include research from a wide variety of sources (not just websites-
this is critical to achieving beyond a Pass)
• An alphabetised bibliography on the final slide
DEADLINE 03/11/22 in Personal Study Section of website

3. Deadlines
Date w/c Task[s]
Summer Choose your focus topic and basic research of theories
12/09 Research all 4 theories (4 sources minimum)
19/09 Research theory (2 sources minimum)
26/09 Research product/person/studio (secondary research) (3 sources minimum)
03/10 Research product/person/studio (secondary research) (3 sources minimum)
10/10 Analyse a product/scene/specific pages/photographs/levels etc.
17/10 Final additions and upload to PERSONAL STUDY area of website. Start essay.
Half term

4. Theories

5. Auteur Theory
Author Alan Parker
Book Title Best Auteur Theory Quotes
Page Reference(s) Page 1
Summary of Theory
• Auteur theory, theory of filmmaking in which the
director is viewed as the major creative force in
a motion picture.
• Supporters of the auteur theory further contend
that the most cinematically successful films will
bear the unmistakable personal stamp of the
director.
• The Auteur theory argues that a film is a
reflection of the director’s artistic vision; so, a
movie directed by a given filmmaker will have
recognizable, recurring themes and visual queues
that inform the audience who the director is and
shows a consistent artistic identity throughout
that director’s filmography.
Quotes
• “I liked almost anybody that made you realize who
the devil was making the picture.” – Howard Hawks
• “As a loyal believer in the Auteur Theory I first felt
editing was but the logical consequence of the way
in which one shoots. But, what I learned is that it is
actually another writing”
• “I believe we have two ideas about how movies are
made in our heads. Idealizations. Platonic ideals.
One of them is of a movie that is completely
uncontrolled, and another is a movie that is
completely controlled. The auteur theory vs.
cinema verité”

6. Reception Theory
Author Stuart Hall
Book Title Reception theory
Page
Reference(s)
Page 1
Summary of Theory
• The audience receives the creative work done
and perceives to its content in either similar or
different. The meaning of the message can
change in the way they see it fit according to
their social context.
• Today theorists who do the analysis of media
through reception theory often derive results
from the experience of an audience created by
watching a cinema, game or books.
• Reception theory as developed by Stuart Hall
asserts that media texts are encoded and
decoded. The producer encodes messages and
values into their media which are then decoded
by the audience.
Quotes
• “The path of temptation is gradual and intelligent,
not as sudden and random as it seems.”
• “He sometimes believed that the compulsion to
make fiction was no more than a bulwark against
confusion, maybe even insanity.”
• “Every hypothesis is a construction, and because of
this it is an authentic theory. In so far as they merit
that exigent name, ideas are never a mere
reception of presumed realities, but they are
constructions of possibilities; therefore they are
pure bits of imagination, or fine ideas of our own.”

7. Hypodermic Needle Theory
Author Wu Wei
Book Title Hypodermic Theory
Page Reference(s) Page 1
Summary of Theory
• The Hypodermic Needle Theory is a linear
communication theory which suggests that
media messages are injected directly into the
brains of a passive audience. It suggests that
we’re all the same and we all respond to media
messages in the same way.
• This way of thinking about communication and
media influence is no longer really accepted.
• Nevertheless, The Hypodermic Needle Theory
continues to influence the way we talk about the
media. People believe that the mass media has a
powerful effect. Parents worry about the influence
of television and violent video games.
Quotes
• “Every plan in which we participate has one
constant, ourselves. Not that we are always the
same, but that we are always part of the plan. All
else comes and goes: friends, parents, possessions,
conditions, situations, and associates, leaving only
us, ourselves.”

8. The Male Gaze
Author Joy McCullough
Book Title Blood Water Paint
Page Reference(s) 1
Summary of Theory
• The male viewers identify with the images they
see of the male protagonists, who lead the plot,
are active and in control. The viewers see a
glamorous, powerful and perfect character on
screen and (unconsciously) want to be like him.
They identify with the man.
• where women in the media are viewed from the
eyes of a heterosexual man, and that these
women are represented as passive objects of
male desire. Audiences are forced to view
women from the point of view of a heterosexual
male, even if they are heterosexual women or
homosexual men.
• From the feminist perspective, this theory can be
viewed in three ways: How men look at women,
how women look at themselves and finally, how
women look at other women.
Quotes
• “I wish men would decide if women are heavenly
angels on high, or earthbound sculptures for
their gardens. But either way, we're beauty for
consumption.”
• “The male glance has often been described. It is
commonly said to rest coldly on a woman,
measuring, weighing, evaluating, selecting her--
in other words, turning her into an object.”
• “She longed to be to him something more than a
piece of sentient prettiness, a passing diversion
to his eye and brain.”

9. CHOSEN THEORY
Auteur Theory

10. Auteur Theory
Author Julian Cornell
Book Title newspaper
Page Reference(s) 1
Summary of Theory
• Arising in France in the late 1940s, the auteur
theory—as it was dubbed by the American film
critic Andrew Sarris—was an outgrowth of the
cinematic theories of André Bazin and Alexandre
Astruc.
• Auteur theory is a film criticism theory that the
director is the “author” of his or her work.
Theorists claim that this makes for more creative
and artistically satisfying films, as opposed to those
made by directors who are not in complete control
of their final product
• The term “Auteur theory” is credited to the critics
of the French film journal Cahiers du cinema, many
of which became the directors of the French New
Wave. However, according to New York University
professor Julian Cornell, the concept had been
around for a while prior.
Quotes
• “In the French New Wave, people developed the
notion of the filmmaker as an artist. They didn’t
invent the idea, but they did popularize it. A
German filmmaker who started as a German
theatre director, Max Reinhardt, came up with the
idea of the auteur – the author in films. He came
up with that around the teens….So, [director
François] Truffaut and the French New Wave
popularized it, or they revived it.” – New York
University Professor Julian Cornell

11. Auteur Theory
Author Howard Hawks
Book Title Auteur Theory
Page Reference(s) 1
Summary of Theory
• Auteur theory can be applied to any form of
storytelling but it is most often studied with films
because there are so many pieces to analyse and
compare. Auteur theory is a French film term
that refers to the director as the primary creative
force behind a film.
• Since it was first introduced as part of French
film criticism in the late 1940s, this term
“auteur” and the phrase “auteur theory” has
been a way to describe the distinctive approach
of certain film directors who have so much
control of a film that they can’t help but make it
about them personally.
Quotes
• “I liked almost anybody that made you realize who
the devil was making the picture.” – Howard Hawks
• “Film’s thought of as a director’s medium because
the director creates the end product that appears
on the screen. It’s that stupid auteur theory again,
that the director is the author of the film. But what
does the director shoot-the telephone book?
Writers became much more important when
sound came in, but they’ve had to put up a valiant
fight to get the credit they deserve.” –Billy Wilder

12. TOPIC

13. Topic Research 1
Author Christopher McKittrick
Source The Auteur Theory: Definition and Famous Auteur
Directors
Page Reference(s) 3
Details about topic/Quotes
• Auteur theory, theory of filmmaking in which the director is viewed as the major creative force in a motion
picture.
• The Auteur theory argues that a film is a reflection of the director's artistic vision; so, a movie directed by a
given filmmaker will have recognizable, recurring themes and visual queues that inform the audience who the
director is and shows a consistent artistic identity.
• In other words, such fundamental visual elements as camera placement, blocking, lighting, and scene length,
rather than plot line, convey the message of the film.
• Supporters of the auteur theory further contend that the most cinematically successful films will bear the
unmistakable personal stamp of the director.
• The best-known example of that during the studio era was Alfred Hitchcock, who by the end of the 1940s was
both directing and producing his films at American studios. Hitchcock was an exception—few other directors
had that type of artistic control in Hollywood.
• Before the term was coined, there were many examples of filmmakers who played dominant creative roles on
their projects, serving multiple roles as directors, writers, producers, and even actors.
• With the growth of the studio system and the major studios’ focus on assembly-style production of films, it
became less common for a single individual to work in multiple creative roles on a film.

14. Topic Research 2
Author The Media Insider
Source YouTube video (What is an Auteur?)
Page Reference(s) 2:49
Details about topic/Quotes
• David Fincher- “The first thing I recognize is his colour palette often very muted you might even say dreary
creating a slight melancholy heavy feeling it's especially obvious in man-made industrial or commercial settings
such as this but more importantly than the missile scene is the meson shot the way he shoots a scene his style is
incredibly deliberate unlike some filmmakers who prefer the fluidity of shooting film from the shoulder like
Alfonso Quran. “In other words he's very prescriptive with what he wants the audience to look at in a shot and
uses his actors to steer our attention.”
• “Identifies the films aesthetic. This is the visual style of the film including the lighting, set design, costume and
also how the camera shoots them.”
• “Troffo said that authors should also have a consistent theme to their work something that reflects their life
their personality in the films that they choose to make.”
• “Auteur theory is a concept that lives on today and is now really kind of used as a marketing tool by film
companies consider films that are marketed for their director rather than their stars this can surely be a way to
maximize box office takings.”

15. Topic Research 3
Details about topic/Quotes
• He is known for his command over the thriller/suspense genre, and all his films feature key themes, symbols,
artistic and technical choices that make every one of them true to him.
• Hitchcock is nobley known to be one of the greatest auteurs of all time having strong themes and stylistic
devices that makes the audience enjoy the film even more. Author Neil Sinyard, in his book, The Films of
Alfred Hitchcock, explained one of Hitchcock's recurring themes of identity mistake.
• “The element of suspense is giving an audience information. Now, you and I are sitting here, suddenly a
bomb goes off. Up we go blown to smithereens. What have the audience had watching this scene? Five or
ten seconds of shock. Now, we do the scene over again, but we tell the audience there’s a bomb
underneath the table and it’s going to go off in five minutes. Now this innocuous conversation about
football becomes very potent. They say, ‘don’t talk about football, there’s a bomb under there!’ Then their
anxieties will be as long as that clock ticks away. But the bomb must never go off.”
• “Everything is decided on paper. I do not improvise while the picture is being made: if you don’t make
your picture on paper ahead of time with all the desired effects, if you cannot visualize or hear, then this
will be like a musician composing with a full orchestra in front of him.”
Author Alfred Hitchcock
Source Auteur Theory: Sir Alfred Hitchcock “The Master of
Suspense”
https://www.staffordschools.net
Page Reference(s) 5 and 12

16. Topic research 4
Details about topic/Quotes
• Spike Lee’s filmic language elevates the message, not only is the story at the forefront but it is supported and
held up by the cinematography, editing style and music. It’s very easy to call Lee an auteur because of his
signature mis en scene, jump cuts, split screens, and the running themes in his movies.
• Bringing attention to racism and prejudice can often be seen as a provocative act – if done by a black man.
• Before Lee, there was blaxploitation, a subgenre that acted as a kind of film backwater for black film-makers
who were not going to get mainstream films to direct. It would not be an exaggeration to say that Lee almost
singlehandedly changed the image of African Americans behind the camera in Hollywood.
• “If I was able to have any do-overs,” he said, “that would be it. It was just totally… stupid. I was immature. It
made light of rape and that’s the one thing I would take back… I can promise you, there will be nothing like
that in She’s Gotta Have It, the TV show, that’s for sure.”
• When it comes to identity, Lee has never been in doubt of defining himself as an uncompromising black man
from Brooklyn. It has shaped and defined his work as well as his bristling image.
• “The great thing about Lee is that he has not tired or faltered.”
Author Spike Lee
Source Spike Lee: still the boldest and brashest auteur in
American film | Spike Lee | The Guardian
Page Reference(s)

17. Topic research 5
Details about topic/Quotes
• In film studies the name given to this approach is “auteur theory”, whereby great directors are considered to
“author” their films, regardless, or in spite, of how they were funded or the conditions under which they were
made.
• Anderson asks us to look at the edges, as much as the middle, because that’s where the real drama might be
occurring. As in life, for Anderson it’s often in the margins and with the marginal that the most important
human and social interactions occur.
• Anderson’s visual style is also often self-reflexive, drawing attention to the very act of looking. He is renowned
for using perfectly centred shots and symmetrical compositions.
• His film work becomes a mediation on perception, on film’s relationship to analogue film, and to painting. His
use of miniatures and matte-painted backdrops combine these obsessions – both perceptual tricks and
decidedly painterly.
• There’s also a degree of nostalgia to this “sunflower” aesthetic (symbolising connections between the sun,
fire, and warmth) since Anderson looks to the past to fill the anomic present with core human values such as
kindness, respect, truth and balance.
Author Wes Anderson
Source Wes Anderson is one of cinema's great auteurs: discuss
(theconversation.com)
Page Reference(s)

18. Topic research 6
Details about topic/Quotes
• Tarantino has had complete control over films and his heavily involved in every aspect of filmmaking. As for
his aesthetics, Tarantino has a unique stylistic tone that cannot easily be matched.
• Known for long, intense dialogue, humorously dramatic violence, and frequently nonlinear scripts, Tarantino
undoubtedly has a signature mark. A well known common theme throughout his films is the revenge plot,
exemplified in films such as Kill Bill, Inglorious Bastards, and Django Unchained, among others.
• Tarantino is able to produce significantly different and unique films each time he produces one while still
maintaining common threads throughout, which not only elevates his status as both an outstanding director,
screenwriter, and producer, but as an auteur as well. If looking for an example of a director being the true
author of a film in support of the auteur theory, look no further than Quentin Tarantino.
• Tarantino himself has also had multiple cameos in his films, similar to Alfred Hitchcock in the past, but
traditionally to a greater capacity.
• Furthermore, Tarantino frequently uses the same cast members and technical crew. Some of the actors that
have appeared in Tarantino films include Uma Therman, Samuel L. Jackson, Christopher Waltz, and Michael
Madsen.
Author Jacob Knopping
Source Tarantino as a Classic Auteur Example | Critical Film
Theory: The Poetics and Politics of Film (lafayette.edu)
Page Reference(s)

19. Micro Analysis
Source (205) Fight Club (1/5) Movie CLIP - I Want You to Hit Me
(1999) HD – YouTube
(205) Fightclub Tyler's End - YouTube
Analysis
• The colour pallet is very muted and dreary creating a melancholy
and heavy feeling.
• Doesn’t use over the shoulder shots, Fincher favours precise static
shots and subtle movements that are almost invisible. Very
prescriptive with what he wants the audience to see and look at in
his shots.
• He uses dark and unsettling music in certain scenes to match with
the dark colour base of his shots, but when the mood of the main
character changes, so does the tone of the music.
• The use of his shots compliment the story line, for example in the
final scene where jack shoots himself, and Tyler falls to the floor,
Fincher quickly changes his shot to show that Tyler was a figment
of jacks imagination and that he had finally gone because he died.
• His scenes are very creative by just the use of his shots, some of
his scenes only contain one line of speech but by the use of shots,
colours and effects it is very creative
• In the scene “I Felt Like Destroying Something Beautiful” at the
very beginning the audio used is slowed down to make it seem like
the character is in his own world, or lost in his own imagination,
that quickly speeds up along with the scene as the main character
gets hit in the face forcing himself into reality to save himself.
Picture/Screenshots
(205) Fight Club • Where Is My Mind • Pixies - YouTube

20. Personal Research Project
• You need to produce an exploration of an element of media that you are
passionate about and is directly linked to the style of media you will make in
your FMP.
• This could be centred around a specific director, product, specific genre or a
social/historical/cultural context.
• You will need to write a minimum of a 1500 word essay exploring the topic.
• You will also need to complete a bibliography of sources directly used in
your essay.
• The final section of your essay will focus on how your findings link to your
own work and your intended outcomes on your FMP this year

21. Essay Title
• Person or Studio Focus
How is [THEORY] relevant when
analysing the work of
[PERSON/STUDIO]?
• Specific Product Focus
How is [THEORY] relevant when
analysing [PRODUCT]?
• Choose your person, studio or product that you will focus on related to
what you will make as your FMP
• Choose one of the theories from the

22. Essay Plan
• Your study should be structured using the following
• Select a director/designer/producer/studio/etc [dependent on your area of
interest] that you consider a strong influence on your work and that you can
do the necessary analysis and investigations into, both from a technical focus
and academic focus
• Undertake macro analysis, this would be looking at the wider context of their
work [this could be historical backgrounds, the world they operate in,
influences, where their work is seen, etc]
• Undertake micro analysis, this would focusing on specific films/scene/levels
of a game/photos/graphic designs etc
• Link this investigation to your own work and your intended outcomes on
your FMP

23. Essay Plan
1. Introduction to your topic (~100 words)
• Who/What did you research? What do you plan to discover through your discussion? How will you go about
doing this (macro, micro and application of theory)?
2. Introduction to your theory (~100 words)
• Explain what your theory is and its origins. What are the main beliefs of the theory? What are the criticisms of
the theory?
3. Macro analysis (400+ words)
• Context of a person: Reference their history with media. What products have they made in the past? What is
their production signature? How are they critically regarded? Any criticisms of their work?
• Context of a product: Reference the production process. Discuss the studio/company that made it and their
history. How is the work critically regarded? Any criticisms of the product?
4. Micro analysis (400+ words)
• Analyse the product/scene/specific pages/photographs/levels etc.
• Discuss the technical construction of what you are analysing (colour, composition, content etc etc) and reference
what impact each aspect discussed on the audience .
5. Application of Theory (400+ words)
• Apply your chosen theory to your chosen product/person/studio with frequent examples.
6. Your own work [~200 words]
• Talk about specific elements of the study that you will incorporate into your FMP this year;
• Link specific research outcomes to elements of your planned FMP, whether it be technical aspects, conceptual
elements or creative inspirations
• Be specific and aim to talk about 3-5 areas that you can link forward into the FMP
7. Conclusion (100 words)
• Reference general theory and your focus statement when making your concluding points
• What have you discovered from your study?
• Answer the question from your title

24. Academic Media Theories
• You should make specific reference to at least one of the following
media theories:
1. Auteur Theory
2. Reception Theory
3. The Hypodermic Needle Model
4. The Male Gaze
• You may find other relevant theories in your investigations for your
research document

25. Learning Criteria
Task 2
Essay
Task 1
Research
Document
Task 2
Essay

26. Support & Guidance slides

27. Micro Analysis Checklist
• Mise en scene
• Colour, costume and props discussing their subtext/connotations
• Binary opposition where appropriate
• Camera
• Shot type (Extreme long shot, long shot, medium long shot etc)
• Angle (High angle, low angle, eye level etc)
• Movement (or lack of movement with a locked off shot)
• Focus (shallow or deep focus)
• Composition (who is higher in the frame, closer to the camera).
• Editing
• Compare a minimum of two shots and discuss their relationship (are the shots the same or different? Why?
• Pace (fast or slow paced shots edited together)
• Any specific editing techniques (match on action, jump cut, montage etc.).
• Sound
• Diegesis (Diegetic, Non-Diegetic)
• Location of sound (internal, external, simple, displaced)
• Visibility of the sound (synchronous, asynchronous)
• Music suitability (parallel, contrapuntal).
• Lighting
• Key (high key, low key)
• Colour/temperature (warm, cold)
• Harshness (soft light, hard light).
• Text/Font
• Serif/San Serif
• Colour
• Font style
• Hierarchy
• Text/Dialogue
• What is being said/written

28. Quotes/Sources
• Reference and foreground your focus statement regularly.
• Include your sources regularly and throughout
• Quotes, statistics, analysis, film dialogue etc
• Include a referenced source directly in your discussion every 250
words (as a minimum).
• Update your research document as you include additional sources (if
necessary).

29. Types of sources
• Chosen products (films, art, magazines, TV shows, games etc)
• Books (written by or about your director/theme) [Google Books]
• Academic articles (Google scholar)
• Interviews
• Documentaries
• DVD extras
• DVD commentaries
• Reviews/Popular Articles
• Journals
• Questionnaires (survey monkey/MS Forms)
• Focus groups

30. Bibliography STYLES FOR DIFFERENT
SOURCES
1. Film Title (YEAR) Directed by DIRECTOR [film] Location of
Distributor: Distributor.
2. “Episode Title” (YEAR) SHOW NAME. Series and Episode
numbers. Channel. Day or broadcast.
3. Game Title (YEAR) Console [game] Studio. Studio Location.
4. Artist surname, artist first initial. (YEAR) Title [details of its
materials] Location where it is. City where it is
5. Artist surname, artist first initial. (YEAR) Title
6. Author surname, author first initial. (YEAR). Title. Publisher
Location: Publisher.
7. Author surname, author first initial. (YEAR). Title. Available:
WEBLINK. Last accessed DATE YOU LAST VISITED SITE.
8. Author surname, author first initial.(YEAR) “Article title”,
Magazine (Issue Number), PAGE REFERENCE
9. In writing
“QUOTE” (INTERVIEWEE cited in AUTHOR, YEAR, PAGE
REFERENCE)
In Bibliography
Author. (YEAR) “Article title”, Magazine (Issue Number),
PAGE REFERENCE
10. Anon (n.d.) Title Available: WEBLINK. Last accessed DATE
YOU LAST VISITED SITE.
1. Film
2. TV show
3. Game
4. Art
5. Photography
6. Book
7. Website
8. Magazine article
9. Citation
10.Unknown
author/date

31. Bibliography STYLE EXAMPLES
1. Jaws (1975) Directed by Francois Truffaut [film] Universal
City, California: Universal Pictures
2. “Gone” (2001) Spaced. Series 2 Episode 5. Channel 4. 30th
March
3. The Legend of Zelda: Breath of the Wild (2017) Nintendo
Switch [game] Nintendo. Kyoto.
4. Goya, F. (1819) Saturn Devouring His Son [mixed media
mural transferred to canvas] Museo del Prado. Madrid
5. McCurry, S. (1984) Afghan Girl
6. Greene, N (2007). The French New Wave - A New Look .
London: Wallflower Press.
7. Hitchman, S. (2008). A History of French New Wave Cinema
. Available: http://www.newwavefilm.com/about/history-
of-french-new-wave.shtml. Last accessed 11th Mar 2022.
8. Smith, J. (2014) “French New Wave Cinema”, Total Film
(Issue 332), p34-35
9. In writing
“QUOTE” (Truffaut cited in Smith, 1994, p25)
In Bibliography
Smith, J (1994) “Interview with Truffaut”, Sight and Sound
(issue 67), p24-25
10. Anon (n.d.) The French New Wave Available:
www.realwebsite.com Last accessed 11th Mar 2022.
1. Film
2. TV show
3. Game
4. Art
5. Photography
6. Book
7. Website
8. Magazine article
9. Citation
10.Unknown
author/date

32. iography
• When writing your
bibliography you
need to
alphabetise the
sources
• Ensure you
prioritise books
and articles over
websites.

33. Z Library
• https://z-lib.org/ is a really useful website to get online PDFs of almost
any book in existence.
• You can look up keywords and find quotes really easily

34. York College Library
Access to
ebooks online
following links
on the Opac
Use the CLASS code to
find the physical book
in the library
https://elibrary.yorkcollege.
ac.uk/opac/opacreq.dll/ne
w

35. Google Books
https://books.google.co.uk
/
Look for ones that
have a preview

36. Amazon
Can’t find the publisher information? Use Amazon as they list
everything you need for a bibliography beneath the listing.

37. Google Scholar
https://scholar.google.com/
Similar to google
books but includes
journals, academic
papers and articles

38. Zlibrary
Some will let you
access online, some
you may need to
download as a PDF
(you can get zlibrary to
send a copy to your
Kindle or ebook
reader)
Some features only
unlock if you have an
account. But its free.
https://cc1lib.club/
You can access both
books and journals.

39. YouTube TRANSCRIPTS
Access
transcripts by
clicking here
You can copy and
paste the transcript
into a word doc for
ease.
This will need
proof reading as
occasionally it gets
things wrong.

40. MyBib
https://www.mybib.com
/
Stores your
bibliography online
for you to copy and
paste off when your
ready.
Generates a
bibliography from a
URL- no effort
required
You will probably
need to refine this a
bit as author names
don’t always seem to
come across.

41. Neil’s Toolbox
http://www.neilstoolbox.com/
bibliography-
creator/reference-book.htm
Fill in the required
boxes and it will
generate the source
for you.
Different tabs for
different types of
sources
If you don’t want to
include page
numbers- just put a .
and delete once
generated.

42. Cite them right
You can find additional support on referencing on
https://www.citethemrightonline.com/

43. In text references
• Comes in 3 Flavours;
1. Regular
• Include a quote and then out the author’s surname and year of release
• Films such as Spider-Man: Into the Spider-Verse (2018), which employs the post-modern narrative focus
of an oppressed minority and applies modernistic Silver Age comics visual style through “Ben-Day Dots,
hard facial lines, and misaligned color palettes” (Cardenas, 2021),
2. Front-load it
• Mention the author, title of the book/article and year of publication before jumping into the
quote
• Luke Turner authored the Metamodernist Manifesto in 2011, formalising his beliefs of the core principals
of the movement. Turner states metamodernity is “an oscillation between positions, with diametrically
opposed ideas operating like the pulsating polarities of a colossal electric machine, propelling the world
into action”.
3. Citation
• If someone was quoted in something else (like someone being interviewed in an article) you “cite”
them
• For it to have been universal across all homo sapien societies (as it is suggested) then “it must have a
social purpose” (de Waal cited in Ambrosino, 2019).

44. Including sources
• When including a source in your script include brief information from
your bibliography with a page reference where relevant.
Example
Truffaut uses long shot durations throughout the 400 Blows (Truffaut,
1959). Truffaut references this stating “It was an accident” (Truffaut in
Smith, 1994, p34).
12. Truffaut, F (1959) The 400 Blows
13. Truffaut, F cited in Smith J (1994) Interview with Truffaut (Sight and
Sound, issue 67)

45. Examples for including sources