The Three Citation Formats
Senior Project Research Paper
Definitions
Below are three examples of acceptable forms of citation. They include:
I)
"In-text direct attribution," in which the author and source are stated in the text
II)
"In-text parenthetical citation," in which the author and page number are stated
in parenthesis following the cited material
III)
"Footnotes/Endnotes" in which the source is stated in a note at the bottom of
the page or end of the document.
Each is from “Exploring the Effects of Film Editing: The Kuleshov Effect” by Jennifer Yang
Examples
I.
In-text direct attribution:
Although his face was edited to appear as if he was looking in the direction of the plate of
soup, the girl, or the coffin, the audience felt that he conveyed a true and different expression for
each object. Michael Russel asserts in “The Kuleshov Effect and the Death of the Auteur” that
“in the actual footage, the image of Mozhukin was identical [and rather expressionless] each
time it appeared.” Vsevolod Pudovkin, who later claimed to have co-created the experiment,
stated in “Naturshchik vmesto aktera,”
[The audience] raved about the acting of the artist. They pointed out the heavy
pensiveness of his mood over the forgotten soup, were touched and moved by the
the deep sorrow with which he looked on the dead woman, and admired the light,
happy smile with which he surveyed the girl at play. But we knew that in all three
cases the face was exactly the same.
Kuleshov used this experiment to prove the value and effectiveness of film editing. As
the first theorist of Soviet cinema, Demetria Shabazz argues in “Lecture 3: German
Expressionism and Russian Formalism,” that his “experiments with juxtaposing the face of an
actor and various other images revealed the impact of montage.” This experiment suggests that it
is the viewers who bring their own emotional reactions to the sequence of images; the editing
Shabazz writes, “emphasizes dynamic discontinuous relationships between shots and
juxtaposition of images to create ideas not present in either one by itself.” More specifically, it is
the mental tendency of viewers to attempt to figure out how a series of shots fit together, even if
the shots are totally unrelated, and to form some sort of emotional response.
II.
In-text parenthetical citation:
Although his face was edited to appear as if he was looking in the direction of the plate of
soup, the girl, or the coffin, the audience felt that he conveyed a true and different expression for
each object, “when in the actual footage, the image of Mozhukin was identical [and rather
expressionless] each time it appeared” (Russel1). Vsevolod Pudovkin, who later claimed to have
co-created the experiment, stated:
[The audience] raved about the acting of the artist. They pointed out the heavy
pensiveness of his mood over the forgotten soup, were touched and moved by the
the deep sorrow with which he looked on the dead woman, and admired the light,
happy smile with which he surveyed the girl at play. But we knew that in all three
cases the face was exactly the same (Pudovkin 184).
Kuleshov used this experiment to prove the value and effectiveness of film editing. As
the first theorist of Soviet cinema, his “experiments with juxtaposing the face of an actor and
various other images revealed the impact of montage” (Shabazz 4). This experiment suggests
that it is the viewers who bring their own emotional reactions to the sequence of images; the
editing “emphasizes dynamic discontinuous relationships between shots and juxtaposition of
images to create ideas not present in either one by itself” (Shabazz 5). More specifically, it is the
mental tendency of viewers to attempt to figure out how a series of shots fit together, even if the
shots are totally unrelated, and to form some sort of emotional response.
III.
Footnotes/Endnotes, Example:
Although his face was edited to appear as if he was looking in the direction of the plate of
soup, the girl, or the coffin, the audience felt that he conveyed a true and different expression for
each object, that “when in the actual footage, the image of Mozhukin was identical [and rather
expressionless] each time it appeared.”1 Vsevolod Pudovkin, who later claimed to have cocreated the experiment, stated:
[The audience] raved about the acting of the artist. They pointed out the heavy
pensiveness of his mood over the forgotten soup, were touched and moved by the
the deep sorrow with which he looked on the dead woman, and admired the light,
happy smile with which he surveyed the girl at play. But we knew that in all three
cases the face was exactly the same.2
Kuleshov used this experiment to prove the value and effectiveness of film editing. As
the first theorist of Soviet cinema, Shabazz argues that his “experiments with juxtaposing the
face of an actor and various other images revealed the impact of montage.”3 This experiment
suggests that it is the viewers who bring their own emotional reactions to the sequence of
images; the editing, Shabazz writes, “emphasizes dynamic discontinuous relationships between
shots and juxtaposition of images to create ideas not present in either one by itself.”4 More
specifically, it is the mental tendency of viewers to attempt to figure out how a series of shots fit
together, even if the shots are totally unrelated, and to form some sort of emotional response.
1
2
3
4
Michael Russel, “The Kuleshov Effect and the Death of the Auteur.”
Vsevolod Pudovkin, “Naturshchik vmesto aktera,” 184.
Demetria Shabazz, “Lecture 3: German Expressionism and Russian Formalism,” 4.
Ibid. 5.
The footnote/endnote form is different from a bibliographical entry:
Footnotes:
1
First Name Last Name, Title, (Publisher and date) Page.
(Note that there are commas rather than periods separating author, title, publisher. The entry ends
with a period.)
Other details:
1)
Ibid. (Latin) is used instead of repeating the previous reference.
1
Lashley, C. (1995) Improving study skills. A competence approach. London,
Cassell.
2
Ibid. 155.
3
Ibid. 170.
2)
Op.Cit. (Latin) is used after an author’s name to mean the same work as last cited
for this author.
1
. Bennett, C. (1996) Researching into teaching methods in colleges &
universities.
London, Kogan Page.
2.
Manger, J.J (1995). The essential internet information guide. New York,
McGraw Hill.
3.
Bennett, C. op.cit. 175.