Wes Anderson is known for his distinctive visual style in films like The Royal Tenenbaums and Fantastic Mr. Fox. Some key elements of his style include symmetrical shots composed like paintings, use of bold colors like red and yellow to represent emotions and themes, and costumes that provide insight into characters. Anderson also draws inspiration from other directors like Mike Nichols and Yasujiro Ozu in his storytelling and visual techniques.

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

2. 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

3. CHOSEN TOPIC
Wes Anderson

4. Theories

5. Auteur Theory
Author Pieter Jacobus Fourie
Book Title Media Studies: content, audiences and production.
Page Reference(s) 214
Summary of Theory
Auteur Theory is a way of looking at films that
state that the director is the “author” of
a film. 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
(think a Hitchcock or Tarantino film) and
shows a consistent artistic identity
throughout that director’s filmography.
Quotes
“In this theory it is postulated that the relation
betweek the image and reality: how this
individual discloses, describes, experiences
and ultimately visualises reality in the image.
In this sense auteur theory is related to
existentialist philosophy and should be studied
against that background.”
- Media Studies: content, audiences and
production.

6. Reception Theory
Author Stuart Hall
Book Title Encoding and Decoding in the Television Discourse
Page Reference(s)
Summary of Theory
The view that the media has the ability to mesmerise, influence and
even control its audiences has its roots firmly in the early 20th
century.
• Dominant, or Preferred Reading - how the producer wants the
audience to view the media text. Audience members will take
this position if the messages are clear and if the audience
member is the same age and culture; if it has an easy to follow
narrative and if it deals with themes that are relevant to the
audience.
• Oppositional Reading - when the audience rejects the
preferred reading, and creates their own meaning for the text.
This can happen if the media contains controversial themes
that the audience member disagrees with. It can also arise
when the media has a complex narrative structure perhaps not
dealing with themes in modern society. Oppositional reading
can also occur if the audience member has different beliefs or
is of a different age or a different culture.
• Negotiated Reading - a compromise between the dominant
and oppositional readings, where the audience accepts parts
of the producer's views, but has their own views on parts as
well.
Quotes
“When the viewer takes this connoted meaning
from, say , a television newscast or current affairs
programme, full and straight, and decodes the
message in terms of the reference-code”

7. Hypodermic Needle Model
Author Media in minutes
Book Title The Hypodermic Needle Theory
Page Reference(s)
Summary of Theory
One of the earliest ways of thinking
about how the mass media influences
audiences. It was developed in the 1920s
and 1930 after researchers looked at the
effects of propaganda during WW1. It a
theory that suggests that
media messages are injected into the
audiences brain and that we will all
respond the these messages in the same
way.
Quotes
• “The Hypodermic Needle Theory
continues to influence the way we
talk about the media. People
believe that the mass media has a
powerful effect.”

8. The Male Gaze
Author Laura Mulvey
Book Title Visual Pleasure and Narrative Cinema
Page Reference(s) 808
Summary of Theory
The male gaze describes a way of portraying
and looking at women that empowers men
while sexualizing and diminishing women. The
influence of the male gaze is not limited to
how women and girls are featured in the
movies. It extends to the experience of being
seen in this way, both for the female figures
on screen, the viewers, and by extension, to all
girls and women at large.
Quotes
“In a world ordered by sexual imbalance, pleasure in
looking has been split between active/male and
passive/female. The determining male gaze projects
its fantasy on to the female figure which is styled
accordingly”

9. CHOSEN THEORY
Auteur Theory

10. Auteur Theory
Author Andrew Sarris
Book Title Notes on Auteur Theory
Page Reference(s) 562
Summary of Theory
• Auteur theory effects how you view the
movies, filmmaking and film criticisms.
• Auteur is the French word for author. The
theory is the idea that the director is the
primary author of the film and that
the film reflects the directors creative
vision. A creative vision told either through
style storytelling or subject matter.
• Some directors have a very noticeable
creative vision like Tim Burton, Wes
Anderson or Hitchcock.
Quotes
• "A director must exhibit certain
recurrent characteristics of style,
which serve as his signature"

11. Auteur Theory
Author Andrew Sarris
Book Title Notes on Auteur Theory
Page Reference(s) 563
Summary of Theory
• The skill of the director can be described in
the Auteur theory. This however is a
flawed view because what makes a good or
bad director is more of an abstract
concept.
• The style can be the most easily
noticeable factor in Auteur theory as it
reflects the artistic creativity in the film.
• The directors views and beliefs
will determine their films interior meaning.
Their films will have subjects that reflect
who they are as a person.
Quotes
• "The three premises of the Auteur
theory may be visualised as three
concentric circles: the outer circle as
technique; the middle circle, personal
style; and the inner circle, interior
meaning"

12. TOPIC

13. Topic Research 1
Author A. Vaughn Vreeland
Source Colour Theory and Social Structure in the
Films of Wes Anderson
Details about topic/Quotes
• “Problematic fathers also tend to be a central theme to Anderson's work as a whole, while mothers are
less of a presence (in fact, many have died as a precursor to his films). This is evident in the case of Steve
Zissou (Bill Murray) in The Life Aquatic with Steve Zissou (2004), Royal Tenenbaum, and Herman Blume
(Bill Murray) in Rushmore (1998).” This is often represented with the colour red.
• “Red seems to be a colour of longing, having deep-rooted issues attached in the realm of fatherhood. In
the case for these three fathers, they are a main source of conflict in their families.”
• The red vintage car that in the Darjeeling limited is the only item that connects the sons to their father. In
the Royal Tenenbaums, Ben Stiller's characters wears a red tracksuit along with his two sons who also
have a complicated relationship.
• “Much of Anderson's films, in keeping with the auteur theory, is a self-reflection of his childhood” This
recurring theme could be a reflection of his own relationship with his father.

14. Topic Research 1
Author A. Vaughn Vreeland
Source Colour Theory and Social Structure in the
Films of Wes Anderson
Details about topic/Quotes
• The colour Yellow is often seen throughout films like “Fantastic Mr Fox”, “The Life Aquatic” and “Moonrise
Kingdom”.
• “Yellow is often a colour of optimism in the films of Anderson, which is apparent in the uniforms of the
scouts in this film. Yellow is also symbolized in many of his films as a colour of peace. For example, the sky
in The Fantastic Mr. Fox is yellow when the foxes are happiest. The submarine of Steve Zissou is yellow,
one of the only things that brings him happiness until he finds the yellow sea creature he had been
searching.
• The use of the colour yellow links with the common theme of youth and childlike innocence that occurs in
many films.
• “Anderson constantly positions himself around the concept of youth. In The Grand Budapest Hotel, M.
Gustave sleeps with older women as a boyish conquest for wealth. Moonrise Kingdom is a film that
centres on the concept of lost youth and the rediscovery of it in young love.”
• “Colour can establish a mood that is in keeping with the action or environment”
• “It brings about this fairy tale-like existence in Anderson's films because his levity often times contrasts
grim situations. The hospital room is bright and bustling with family members after Richie Tenenbaum
tries to commit suicide. Here Anderson plays with the stress that society places on menial factors–in
darkness he presents us with light as a sort of childish optimism.”

15. Topic Research 2
website Studio Binder
Source The Wes Anderson Style Explained
Page Reference(s)
Details about topic/Quotes
• “ His cinematography is precise, casual and punctuated.”
• “Anderson crafts his stories from the perspectives of young adults”
• “he builds ensembles of flawed misfits. They’re also walking contradictions. The
children act like adults and the adults act like children” This storytelling style is
what makes his films film charming and unique.
costume
• “In the royal Tenenbaums. Chas’s life has been chaotic. His father tormented him
as a boy. His wife was killed in a fire. He is running from his past so Anderson
dresses him and his sons in jogging suits.”
• “Margot is a wandering enigma. An adopted child who can’t accept love. So she is
a blonde goth”

16. Topic Research 3
website Curzon
Source Unpacking Wes Anderson’s Cinematic Style
Page Reference(s)
Details about topic/Quotes
• “While vintage flair, bold colour scheme and keen costume design are obvious
components of this unique aesthetic, there are numerous subtle ways he creates
his distinctive look.”
• “In The Royal Tenenbaums (2001), we see Chas (Ben Stiller) wearing a red tracksuit
to mourn the death of his wife and the sense of abandonment he felt growing up.”
• “In The Darjeeling Limited (2007), the brothers are also seen driving a red car after
the death of their father.”
• “attention to symmetry also helps create a tableau effect, making shots seem
nearly two-dimensional and appear like a series of paintings, which is key to
creating Anderson’s signature style.”

17. Topic Research 3
website Curzon
Source Unpacking Wes Anderson’s Cinematic Style
Page Reference(s)
Details about topic/Quotes
• ”Anderson has a very specific visual style and he outlines his vision meticulously.”
This Shows that Anderson plays a big part in making the films look the way they
do.
• “Anderson has often cited Mike Nichols as a great source of inspiration and this
can be clearly seen in the parallels between Rushmore (1998) and Nichols' The
Graduate (1967). A clear example of this are shots of the protagonist appearing
behind a fish tank that occupies the whole frame.”
• “Japanese filmmaker Yasujirō Ozu’s style and subject matter made a big
impression on Anderson.”

18. Topic Research 4
website Britannica
Source Wes Anderson
Page Reference(s)
Details about topic/Quotes
• “they wrote the script for a short film called Bottle Rocket (1994), which was
directed by Anderson and featured performances by Wilson and his brother Luke
Wilson.”
• “The short film came to the attention of director and producer James L. Brooks,
who sponsored a full-length version of the story. Retaining its title and cast, Bottle
Rocket (1996) became Anderson’s first feature film.”
• “Anderson and Wilson next wrote Rushmore (1998), which starred Jason
Schwartzman as an indefatigable prep-school student and Bill Murray as his
wealthy benefactor and sometime foe.”
• “Wes Anderson, in full Wesley Wales Anderson, (born May 1,
1969, Houston, Texas, U.S.), American director and screenwriter”

19. Topic Research 5
Author Thomas Flight
Source Why do Wes Anderson Movies Look Like That
Page Reference(s)
Details about topic/Quotes
Wes Anderson was inspired by King Kong, influencing how he created his stop motion animations.
• “If you watch the 1933 film Kong Kong closely you might notice a slight rippling effect across the puppets
fur. You’ll notice the same effect if you watch Wes Andersons stop motion films “fantastic Mr Fox” and
“Isle of Dogs”. The rippling is a side effect of using real animal fur , something Anderson wanted because
he likes the aesthetic of the 1933 King Kong film.” – “When animators hands adjust the puppets for each
frame, they leave impressions in the fur creating a rippling almost windswept effect, something that can
be avoided using synthetic fur.”
Wes Anderson makes his backgrounds appear as if a flat plane that the characters move around in.
• “In addition to the background being a flat plane, characters usually occupy and move through flat planes
within the scene that run parallel to the background. In the Grand Budapest we can see Anderson usually
orients his characters along these planes. Either facing directly towards or away from the camera or
perpendicular to the camera
• “In compass point editing and camera work the camera only really faces in four directions. Whenever the
camera pans, it pans in 90 degree increments, in order to keep the walls of the environment flat”

20. Topic Research 6
Author Mark Browning
Source Wes Anderson, Why His Movies Matter
Page Reference(s)
Details about topic/Quotes
• “Rushmore begins with a curtain opening and in a sense the whole film
is a school play”
• “Anderson is a rare example of a modern director who has a significant
input in a number of areas of production, resulting in a distinctive style,
which links his films together and separates them from the work of
others.”
• “There is a strongly literary element in Tenenbaums, most obviously in
the literary conceit of its construction but also in the appropriation of
material from J. D. Salinger.”

21. Micro Analysis
Source Fantastic Mr fox: Science Lab scene
Analysis
The colour yellow is commonly used throughout Wes
Andersons films as a symbol of youth and childlike
optimism. Fantastic Mr Fox has a Yellow tint to the
entire film with the sky and grass being different
shades of orange and yellow. It is also shown in the
Characters clothes with Felicity fox’s dress and Mr
Fox’s suit representing their desire for and
possession of a certain level of childlike traits, like
immaturity or innocence. Similarly to this, the
absence of yellow can be used to represent
characters personality or to show the emotions in
the scene. The use of colour in the children's
chemistry lab scene shows these emotions and
displays how Ash feels different and ostracized.
At the start of the scene when Ash and Agnes are on
screen there are two jars with chemicals in front of
them. Ash’s jar is a bright red whereas Agnes’ is a
glowing yellow. This shows Ash as being short
tempered and angry. There is even a poster of an
erupting volcano just behind his head, Displaying an
explosive temper.
During the scene Ash is adding chemicals to a clear
jar that sits in front of him. Moments before he
notices Agnes’s attention focusing on Christofferson,
the jar turns green representing his feelings of
jealousy.

22. Source Fantastic Mr fox: Science Lab scene
Analysis
Ash is constantly measuring himself against others
and often feels envious of Christofferson's
continuous natural success that seems to come with
ease for him.
Later in the scene, the camera pans to Christofferson
and the school bully. The bully wears an orange and
yellow t-shirt showing his childlike immaturity. When
he pours something into the dish to ruin the
experiment, it explodes with smoke covering their
glasses with yellow powder, literally covering them
with childish playfulness. This contrasts to
Christofferson who wears a neat blue shirt which
shows his calm nature and maturity. Yellow and blue
are opposites on the colour wheel which shows that
they have each others opposing qualities. This is the
same with red representing Ash’s quick temper and
blue being Christofferson's calmness. This is because
Red and Blue are also seen as opposites with red
representing hot and blue being cold. This is further
portrayed with the Jars behind the boys. Ash has a
large jar of red liquid whereas Christofferson has a
round blue jar.

23. Micro Analysis
Source The Royal Tenenbaums: prologue
Analysis
Continuing with the theme of colour in Wes
Anderson films. Red can also have a lot of other
meanings attached to it. It can represent emotions
like anger and frustration, but is also linked with
father issues. In the prologue for the Royal
Tenenbaums we are introduced to all the different
Tenenbaum children, all of whom have a different
colour palette representing them.
The prologue begins by explaining the situation
with their parents divorce. They are sat in a room
with dark reddish-orange wallpaper and bright red
chairs. The room in dimly lit which makes the room
have a deeper red tinge to the screen. Margot and
Richie both have red in their clothes where as chas
is wearing a grey suit.
Later on we are introduced to Margot’s character.
When she is younger, she wears a blue dress whilst
sitting on a red bed listening to a red record. This
shows that she has always felt some level of
distance from her father. This is further explained
by the following shot showing her father
introducing her as his adopted daughter. The
background of this scene is a large red curtain
showing Margots issues. Moments later we see her
processing photos in the “darkroom”. This room is

24. Source The Royal Tenenbaums: prologue
Analysis
Fully lit with red lighting. She then proceeds to
dance in a room with red walls and her signature
fur coat is hung up in the background. This
montage shows how she has developed over the
years with this lack of compassion from her father.
Each frame continues to get filled with more red
and her style begins to darken as she wears
eyeliner and a big fur coat.
We then get introduced to Richie’s room which
displays his brighter tone and more yellow colours.
His floor is scattered with yellow tennis balls that
cover the majority of the floor. This shows to us
how important tennis is in relation to his youth.
Richie always wears a sweatband around his head
throughout the film. This shows how Richie is
clinging on to his youth with the sport that he
loves. The lighting for Richie’s scenes in much
brighter, compared to the warm tones that we see
with Margot. Richie is the only son who has a good
relationship with his father. They spend time
together and share an interest in sports. He even
has a drawing of him and his dad together about
the fireplace in his room showing a level of respect
for his father. Richie wears the least amount of red

25. Source The Royal Tenenbaums: prologue
Analysis
and his scenes are lit with bright lighting and
complementary colours like yellow and blue.

26. 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

27. 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

28. 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

29. 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

30. 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

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

32. SUPPORT & GUIDANCE SLIDES

33. 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

34. 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).

35. 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

36. 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

37. 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

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

39. 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

40. 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

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

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

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

44. 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.

45. 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).

46. 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)