Dissertation Handbook for Film Students.

 

The Independent Study culminates your examination of the structures of cultural production and takes the form of an extended 10,000-word essay. This handbook guides you from the first stages of selecting your topic through to the composition and formatting of the completed dissertation.

Your Independent Study should reflect a serious and independent approach to the topic, marked by a constructed and constructive argument. Aim to display knowledge of the subject area and ability to present relevant evidence to support your standpoint. Planning to this end needs to commence during Semester B at Level Two and should take into account the 25% weighting of this component of the degree. In other words, work on the dissertation at Level Three should occupy a quarter of your working week on average.

If your proposal involves analysis or discussion of particular media texts, make sure you have copies in a suitable form that you can refer to at any time. There is no point in submitting a proposal for a text that you do not have or that you intend to acquire at some future date. You are strongly advised not to change your key subject after your proposal has been accepted.

In the Dissertation Handbook for Film Students You cannot fulfil the requirements of researching and writing a satisfactory dissertation at the last minute and accomplish your aims with respect to the critical studies and practical components of the degree. Those who have gone before will back this statement. The research and writing essential to the dissertation demand commitment and consistent effort over as long a period of time as you can allocate; a backlog of reading and other research is almost impossible to retrieve.

SELECTING A TOPIC

The dissertation is the most important piece of written work on your degree course, so choose a subject you can tackle with confidence and sustained interest. The topic needs to help you prove your capabilities as an independent researcher, analyst and creative communicator. The following points may help:

• The subject should facilitate an involvement with issues relevant to contemporary media practice.
• Analysis and evaluation should underpin the project.
• Previous research and writing skills that have attracted positive comments during the course may provide a good foundation.
• Independence in your approach to the topic is paramount.

Avoid becoming too involved with issues presented in the text(s) you are studying. A dissertation examining photographic representations of animal welfare should be about the media strategies involved – not a platform for your views on the treatment of animals.

Avoid subjects and titles that would provide enough material for a book: “TV Teen Drama” or “A History of American Colour Photography” are both too vast for an essay of the required length. Focus on the works of a particular practitioner or group, or select a theme you can comfortably handle within the given parameters. “Representations of Gender in Skins” or “The Decentred Subject: Colour and Framing in the Work of William Eggleston” are realistic titles and subject areas for a project of this kind.

Some topics in the Dissertation Handbook for Film Students have been “done to death” by past students and professional critics. Citizen Kane and the documentary work of the GPO Film Module have both provoked enough response to fill several library shelves; it would be very difficult to provide fresh insights into either topic (though clearly not impossible). At the other extreme, avoid subjects with little or no publications supporting them; check availability of books and periodicals beforehand. If your dissertation depends on an interview with a particular practitioner make sure this is a real possibility before committing yourself.

BUILDING A BIBLIOGRAPHY

The bibliography is an accumulated list of literature consulted during your research, not simply an exhaustive list of books you hope will impress an examiner. It should reflect the extent of your research, both past and present, into the subject and your involvement with the debates it engenders. Remember, the Dissertation Handbook for Film Students should evidence the reading you have done and your acquired knowledge of differing approaches and arguments that have influenced your standpoint. A dissertation that does not evidence the research suggested by the bibliography will fail one of the major assessment criteria. In summary, the purpose of your research is to:

• Extend the range of your information on the core subject
• Clarify the main areas of debate
• Test and compare the ideas and arguments of different authorities
• Help you to define your own standpoint

Keep these vital points in mind. Your bibliography provides examiners with important information about the scope and relevance of your reading. It indicates your involvement and imagination with regard to research. A common fault is students’ belief that they have to accumulate all the facts surrounding a subject and systematically map out all the arguments chronologically – this is absolutely not the case. You are required to demonstrate ability to develop and sustain an informed argument, utilising evidence gained through relevant research and analysis, to support a clearly defined standpoint.

Your initial choice of books or authors should be motivated by your theme or topic. A project on Amber Films in Newcastle could offer a number of approaches: primarily, the political-economic implications of independent and community film making in Britain since the late ‘sixties. As this was mainly driven by a radical Marxist critique of post-war democratic-liberalism there are already a number of topics to explore: the growth of independent filmmaking, the position of the post-war media industry and the emergence of Marxist criticism, all within the British context. As Raymond Williams was a key critic concerned with the relationship between economics and cultural production during the same period, he could provide an access point. Another approach to Amber could be the photographer Sirka-Lisa Kottingen’s contribution. This would possibly involve an enquiry into gender positions in terms of both the influence of women working in the media and women representing women; Annette Kuhn, Judith Williamson and Rosalind Coward could be the first authors in this area to consult.

All Module Guides at other levels of study will have included bibliographies. These can help track down authors in a wide range of topics concerned with media theory. Nevertheless, be selective. Don’t attempt to accumulate every possible fact about your subject; this can lead to an information log-jam and an impossible filing task. Edited readers on particular authors or subjects are often more accessible and material has been picked to highlight the most relevant aspects; a reader on feminism may help you select a particular work by, for instance, Julia Kristeva rather than trying to work through her entire output or choosing a text at random. A particular director’s biography or a historical account of a movement can save much archival research in periodicals. The University Library on-line catalogue provides quick access to information about availability of articles on a whole range of topics but also keep this in mind if you are planning an out-of-town trip. Most national libraries and archives allow access to non-members, although some have a modest charge: phone in advance or check their website carefully to find out.

PRIMARY AND SECONDARY SOURCES

Primary sources are statements, views and ideas delivered directly, in whatever form, by persons connected with your object of study; Roland Barthes’ essays, Martin Parr talking about his photography or Katheryn Bigelow about her films are instances of this. An interview with a television scriptwriter, or audience research that you undertake, constitutes not only original research but you are also making use of primary sources of information. Please also note that your own analysis and evaluation of appropriate media texts constitutes primary research.

Secondary sources are critics’ or biographers’ comments or appraisals of someone else’s textual material, such as John Fiske’s summation of Roland Barthes’ five codes of narrative in Television Culture or Forsyth Hardy’s account of John Grierson’s work. You are in effect using the research that another has done into the area you are discussing. This is perfectly legitimate, but you must show that you can distinguish one from the other and use each appropriately. Failure to acknowledge other people’s ideas properly is one aspect of the serious academic offence of plagiarism, for which severe penalties can be imposed. (See also paraphrasing and quotations).

INTERVIEWS AND QUESTIONNAIRES

One valuable means of gathering information is through contact with those involved in production, consumption and, where appropriate, analysis of the core texts of your dissertation. Students in the past have approached media practitioners, text subjects, theorists, critics and audiences with usually fruitful results. Examples from this course include an interview with John Peel about pirate radio, email exchanges with theorist Noam Chomsky and Hollywood blockbuster writer David Koepp, and questionnaires sent to production teams working in broadcast news. One student had remarkable success with a German film collective and the subjects of a film about disability and euthanasia, while a substantial number have gathered valuable information through limited investigations into audience response. It is, however, important not to let an interview cloud your critical and analytical approach. Maintain an independent position. Nor is it appropriate to approach academics who have already written at length on the topic, unless you have read their work carefully to ensure that you do not simply ask them questions about matters already dealt with adequately in their publications. There are many ways of gaining information through direct and original research and often this can form the basis of the dissertation; tutors can help you select the most appropriate means.

Please be aware that empirical primary research – questionnaires, surveys, interviews, etc – while it may be appropriate for many topics in Media Production, is not an absolute requirement as it is for some other subjects, mainly based in social sciences, taught in this University. Original textual analysis, for example, can count as your primary research. Nevertheless, empirical methods may be relevant to your investigation. Seek advice from your tutor when formulating your proposal. Experimental or statistically based approaches require very careful design, using sophisticated methods of data gathering and interpretation, and often involve ethical issues as well. To avoid disappointment, time wasting, frustration and expense, never embark on an interview, survey or experiment without first obtaining your supervisor’s advice and approval.

TAKING NOTES

While reading any book or article the ideas will be fresh in your mind and it is quite easy to remember the main points and even in which chapter or page they appeared. As your reading progresses you may find it impossible to remember even the book title or author, let alone a publisher or page number. It is vital to note down all relevant material consulted, especially page numbers of quotations you intend to use and the author, publisher and publishing date. These facts are essential to avoid any problems with the University’s regulations concerning plagiarism in academic work (see the section on referencing later in this booklet).

Note taking is generally a personal matter. Different methods each have their advantages. Notebooks, loose-leaf folders, a card index, memo-recorders (especially for interviews) or even a combination of these and more; whichever suits your preference. It is advisable to transfer information onto computer as you go along and most students nowadays draft their writing directly onto a word processor. Quite often your notes will form a substantial part of your final work and they can assist in evaluating your progress with your tutor. It is essential to make regular printouts and save at least two copies of your work on your PC and an independent device (such as a flash drive) at the end of each session. Last-minute software failure or printer problems do not provide valid reasons for an extension at any stage of the course unless supporting evidence is provided by University IT or Library staff. Dissertation Handbook for Film Students.

 

FORMAT AND PRESENTATION

Order of contents

1. The title page should be arranged as follows:

 

At the top:                      University and School

 

Followed by:                   Module code: Module title, year of graduation

 

In the centre:                  Title of dissertation and name of student

 

At the bottom:                Title of Award, e.g. BA (Hons) Media Production

 

This information must be visible on the front cover.

 

2. The second page (p.1) lists the contents by page number, e.g.:

 

CONTENTS	page
List of Contents	1
List of Illustrations	2
Introduction	3
Chapter I*	5
Chapter II*	12
Chapter III*	20
Chapter IV*	27
Conclusion	33
Bibliography	36
Illustrations	39
Acknowledgements	43
Appendix I      (interviews)	I – XIV
Appendix II    (correspondence)	i – vi

 

*Followed by chapter title as appropriate

 

The final submission must be printed single-sided on white A4 paper. Body text must be double-spaced and have a 3cm margin on the left and a 2 cm margin top, bottom and right. All research sources utilised must be acknowledged and referenced within the essay using the Harvard referencing system as this is defined in The complete guide to Harvard referencing available from the Library Portal and on Blackboard. Quotations are included in the word count, which must be adhered to. The title page, bibliography and any appendices are not included in the word count.

 

SOME NOTES ON THE STRUCTURE OF YOUR DISSERTATION

THE INTRODUCTION

This will include:

• A concise description of your topic and the rational for choosing it.
• The key research question (proposition or premise) that you will be exploring and that will form the basis for your argument.
• An indication of the main research methods you will be employing and why they are appropriate in this case.
• An indication of key research sources and authors that will guide and underpin the enquiry.
• An indication of the structure of the argument and how it will be progressed in the dissertation.

 

We would expect the Introduction to be between 1000 – 1500 words in length, although some may be longer. You should avoid giving complex or elaborate accounts of the background to your topic, the issues that it raises or those relating to your question. This is typically material that will feature in the opening Chapter where necessary.

CONTENT OF CHAPTERS

This will vary significantly from student to student and from topic to topic and is precisely where the support and advice of your supervising tutor is crucial. The content of each will be very much dependent on the argument you are putting forward and how you intend to progress it. It is advisable to put together a rough essay plan as early as possible and discuss this in tutorials; it will inevitably change as your enquiry progresses but can serve as a very effective way of guiding further research and helps you avoid wasting valuable time exploring dead-ends or irrelevant diversions. In an essay of this length 3 or 4 Chapters are recommended but again – your tutor can advise if you are in any doubt. It is best to avoid subsections in Chapters unless they are absolutely necessary, as these tend to fragment the flow of your argument without having any real benefits.

THE CONCLUSION

The Conclusion is the place where you draw together all the threads and ideas you have explored and summarise your findings. You should clearly state what you have established in relation to the initial proposition that you put forward in the Introduction. You may also use the opportunity to point towards further research that you or others might carry out in relation to the topic and argument, particularly if it was not possible to establish a clear answer to your question because of limitations of space, time and resources or new issues that emerged during your enquiry. Always remember that whilst studying your topic you have engaged with ideas and debates from a large community of scholars and practitioners – your findings and the views you express in your dissertation have now become an integral part of this ongoing discourse and may, at any point, play a valuable part in continuing it.

ILLUSTRATIONS

Illustrations can take the form of diagrams, graphs, sets of tables and images drawn from a range of media. Typical images include films stills, copies of photographer’s work, magazine layouts and web pages. Whatever the source, these should only be used where they are discussed and/or analysed in the dissertation and never as simple superfluous decoration (even on the front cover). Diagrams have been used in past dissertations to explain edit structures, complex theoretical models, narrative curves and more. Graphs and tables might be originally generated by you, to show questionnaire results for example, or taken from other reliable sources (such as BARB). In all cases the source of illustrations should be referenced and listed in the bibliography. They should all be presented together on single-sided pages in a separate section towards the end. Illustrations should be captioned and numbered according to when they occur in the dissertation (e.g., Fig. 1, Fig. 2, etc.) – the number is then used when referring to them in the essay.

APPENDICES

Appendices at the back of the dissertation provide supplementary material relevant to the research. Examples include interview transcripts, copies of questionnaires (with tabulated results) and correspondence you may have carried out with individuals or institutions during your enquiries. Usually each separate category requires a separate appendix, each with its own numbering system (often this is done in roman numerals to distinguish it from the body of the exposition).

PRESENTATION OF BIBLIOGRAPHY

Publishers vary in the conventions they adopt as part of their house style.

All publications quoted, cited or otherwise acknowledged should appear in the bibliography, normally combined in one list in alphabetical order of authors’ names. You do not have to list different forms of publication separately. Again, consult the Harvard guide and your tutor if unsure about the best way to present this material.

ACKNOWLEDGING SOURCES (Dissertation Handbook for Film Students)

Paraphrasing and quoting:

Always acknowledge the work of others that you are using to further your argument. In the case of quotations this is quite straightforward. Quotation marks (or indentation, without quotation marks, if more than three lines) isolate the actual words; a reference number or author-date-page citation system guides the reader to the source. With paraphrasing the business of acknowledging the author becomes more obscure. All of us are using ideas and formulations we have adopted and adapted from other sources but it is very important when you knowingly use an idea or concept from a distinct source that you acknowledge this. Interpellation is, for instance, a concept first defined in print by Louis Althusser. Where you make a summation of the ideas of another in your own words you are paraphrasing and you should show that you are fully aware of this (proving by the same token that you have fully understood what the concept entails and where it comes from). Typical wordings to demonstrate this are:

If we are to believe what Barthes* says about examination then the process by which patriarchy puts itself above the debate and avoids examination is crucial to. . . .

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Although we may regard the mirror phase, as Lacan* describes it, as the pivotal point of entry for the subject into the symbolic realm we should understand that this is not a total departure from the imaginary. . . .

* Note: The source of this information will also require referencing.

As always – if in doubt, consult a tutor!

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