Here are the guidelines for the 1st option (‘old style’ research paper):
Description:
A paper is a space in which, by looking at a text or a series of texts (in our case, one or more
films), you explore issues addressed in class in deeper and more original ways within a frame
that allows you to expand on the course’s general and specific focuses. It is crucial for a good
paper to have a strong thesis statement in the first paragraph. The expected engagement with the
texts embraces narrative/characters analysis and investigation of formal solutions as well as an
assessment of the relevance of the texts. This overall critical take on the ideas and ways offered
by the texts can only be supported by secondary sources which you are expected to actively
dialogue with. The quality of a paper lies also in its style, language accuracy, organization, and
presentation.
You are addressing an informed reader, so it is not a good idea to summarize a film’s plot. You
can certainly briefly illustrate its main meaning or capture its message in a few words. Socio-
historical contextualization is always useful to position the texts under analysis, while
generalizations tend to weaken your argument.
Please include a title in your paper: it functions as a hyper-concentrated argument as well as a
grounding descriptor for the reader.
Please note: You may want to include in your paper frames from the film you have under
analysis (pictures/frames will NOT be counted toward the required number of pages).
Films
Divorce, Italian Style (Pietro Germi, 1961: 108’)
A Fistful of Dollars (Sergio Leone, 1964: 99’)
Blow-Up (Michelangelo Antonioni, 1966: 111’)
Zabriskie Point (Michelangelo Antonioni, 1970: 110’)
Dear Diary (Nanni Moretti, 1989: 89’)
Stolen Children (Gianni Amelio, 1992, 116’)
The Dreamers (Bernardo Bertolucci, 2003: 115’)
The Great Beauty (Paolo Sorrentino, 2013: 142’)
Description:
A paper is a space in which, by looking at a text or a series of texts (in our case, one or more
films), you explore issues addressed in class in deeper and more original ways within a frame
that allows you to expand on the course’s general and specific focuses. It is crucial for a good
paper to have a strong thesis statement in the first paragraph. The expected engagement with the
texts embraces narrative/characters analysis and investigation of formal solutions as well as an
assessment of the relevance of the texts. This overall critical take on the ideas and ways offered
by the texts can only be supported by secondary sources which you are expected to actively
dialogue with. The quality of a paper lies also in its style, language accuracy, organization, and
presentation.
You are addressing an informed reader, so it is not a good idea to summarize a film’s plot. You
can certainly briefly illustrate its main meaning or capture its message in a few words. Socio-
historical contextualization is always useful to position the texts under analysis, while
generalizations tend to weaken your argument.
Please include a title in your paper: it functions as a hyper-concentrated argument as well as a
grounding descriptor for the reader.
Please note: You may want to include in your paper frames from the film you have under
analysis (pictures/frames will NOT be counted toward the required number of pages).
Films
Divorce, Italian Style (Pietro Germi, 1961: 108’)
A Fistful of Dollars (Sergio Leone, 1964: 99’)
Blow-Up (Michelangelo Antonioni, 1966: 111’)
Zabriskie Point (Michelangelo Antonioni, 1970: 110’)
Dear Diary (Nanni Moretti, 1989: 89’)
Stolen Children (Gianni Amelio, 1992, 116’)
The Dreamers (Bernardo Bertolucci, 2003: 115’)
The Great Beauty (Paolo Sorrentino, 2013: 142’)
Secondary Sources:
Every student is required to quote and engage with at least 3 secondary sources. Engaging with a
source means that you discuss the quote, comment and elaborate on it, and let me know why you
agree or disagree with it by bringing in more examples from the movie or from other secondary
sources. In-class readings are allowed.
Guidelines:
1. The paper must be 5 pages (reference page NOT included)
2. The paper must be typed, double-spaced (1 inch margins, 12-point type/normal-sized
font, Times New Roman character).
3. Please do not waste paper with a cover page. Simply start the paper with your name
(only) and the title.
4. Every student is required to quote and engage with at least 3 secondary sources. Readings
assigned for class are allowed.
5. All citations (articles, books, internet sites, an encyclopedia entry, a dictionary, a
reference manual, etc.) must be identified within the text and by mentioning them in a
bibliographical citation at the end of the paper.
Example: As Casillo mentions: “xxx” (134)
Bibliography: Casillo, Robert. Gangster Priest. The Italian American Cinema of
Martin Scorsese. Toronto: University of Toronto Press, 2006.
Every student is required to quote and engage with at least 3 secondary sources. Engaging with a
source means that you discuss the quote, comment and elaborate on it, and let me know why you
agree or disagree with it by bringing in more examples from the movie or from other secondary
sources. In-class readings are allowed.
Guidelines:
1. The paper must be 5 pages (reference page NOT included)
2. The paper must be typed, double-spaced (1 inch margins, 12-point type/normal-sized
font, Times New Roman character).
3. Please do not waste paper with a cover page. Simply start the paper with your name
(only) and the title.
4. Every student is required to quote and engage with at least 3 secondary sources. Readings
assigned for class are allowed.
5. All citations (articles, books, internet sites, an encyclopedia entry, a dictionary, a
reference manual, etc.) must be identified within the text and by mentioning them in a
bibliographical citation at the end of the paper.
Example: As Casillo mentions: “xxx” (134)
Bibliography: Casillo, Robert. Gangster Priest. The Italian American Cinema of
Martin Scorsese. Toronto: University of Toronto Press, 2006.