Film and television studies


Penalties for Late Submission without an Extension



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Penalties for Late Submission without an Extension


When work is submitted late and no formal extension has been granted, there is a penalty of 5% reduction of the mark per day.

In some circumstances in which you have not been granted an extension you may still be advised to complete the assignment and hand it in. In these cases the work will be marked and the mark reported to the appropriate examination board. The board will consider how, if at all, the mark is to be taken into account.



Introduction to Film Studies (FI 101 - day module): Martin Pumphrey

Wednesday 31st October 2012 (Week 5, Autumn term) 1,500 words

Monday, 14th January 2013 (Week 2, Spring term) 1,500 words

Monday 22ndApril 2013 (Week 1, Summer term) 3,000 words



Hollywood Cinema (FI 102 - day module): Rachel Moseley, Ed Gallafent

Monday, 10th December 2012 (Wk 11, Autumn term) 3,000 words

Monday 22nd April 2013 (Wk 1 Summer term) 3,000 words

Examination information

The syllabus on which examinations are based will be made clear to you by each individual module tutor, both at the beginning of the year and in the revision sessions in the summer term. If in doubt, please consult module tutors in the first place.

Copies of past examination papers (since 1999) are available on line at:

http://www2.warwick.ac.uk/services/library/electronicresources/exam_papers

Exam rubrics are posted on the noticeboards outside the common room in the summer term and will be explained by module tutors in revision sessions.

Examination conventions and procedures

Students are awarded an overall mark based on assessment and examination and this is passed on to their home department (with a breakdown of that mark). The scale of marks equivalent to classification is as follows:

70 and above First

60-69 2.1

50-59 2.2

40-49 3rd

39 and below Fail

17-point marking scale

Where an assessment or exam is a single piece of work, or a small number of long exam answers, 1st and 2nd year work will be marked using the scale outlined below.


(The descriptors in the following table are interpreted as appropriate to the subject and the year/level of study, and implicitly cover good academic practice and the avoidance of plagiarism. We publish more detailed departmental marking criteria in Appendix 4.)
With the exception of Excellent 1st, High Fail and Zero, the descriptors cover a range of marks, with the location within each group dependent on the extent to which the elements in the descriptor and departmental marking criteria are met.


Class

scale

Descriptor

First

Excellent 1st

Exceptional work of the highest quality, demonstrating excellent knowledge and understanding, analysis, organisation, accuracy, relevance, presentation and appropriate skills. At final-year level: work may achieve or be close to publishable standard.

High 1st

Very high quality work demonstrating excellent knowledge and understanding, analysis, organisation, accuracy, relevance, presentation and appropriate skills. Work which may extend existing debates or interpretations.

Mid 1st

Low 1st

Upper Second (2.1)

High 2.1

High quality work demonstrating good knowledge and understanding, analysis, organisation, accuracy, relevance, presentation and appropriate skills.

Mid 2.1

Low 2.1

Lower Second

High 2.2

Competent work, demonstrating reasonable knowledge and understanding, some analysis, organisation, accuracy, relevance, presentation and appropriate skills.

Mid 2.2

Low 2.2

Third

High 3rd

Work of limited quality, demonstrating some relevant knowledge and understanding.

Mid 3rd

Low 3rd

Fail

High Fail (sub Honours)

Work does not meet standards required for the appropriate stage of an Honours degree. There may be evidence of some basic understanding of relevant concepts and techniques

Fail

Poor quality work well below the standards required for the appropriate stage of an Honours degree.

Low Fail

Zero

Zero

Work of no merit OR Absent, work not submitted, penalty in some misconduct cases

For calculating module results, the points on this marking scale have the following numerical equivalents:




Class

Point on scale

numerical equivalent

range of marks for work marked using all points on 0-100 scale

First

Excellent 1st

96

93-100

High 1st

89

85-92

Mid 1st

81

78-84

Low 1st

74

70-77

Upper Second

High 2.1

68

67-69

Mid 2.1

65

64-66

Low 2.1

62

60-63

Lower Second

High 2.2

58

57-59

Mid 2.2

55

54-56

Low 2.2

52

50-53

Third

High 3rd

48

47-49

Mid 3rd

45

44-46

Low 3rd

42

40-43

Fail

High Fail

38

35-39

Fail

25

19-34

Low Fail

12

1-18

Zero

Zero

0



So, if an essay or exam answer is awarded the grade ‘Mid 2.1’ this means that it will count as a numerical mark of 65 for the purpose of calculating your final grade for the relevant module.

Further information about examinations may be obtained from your module tutors, your personal tutor, or the department’s Examinations Secretary, José Arroyo.



APPENDIX 1

DATES OF TERMS

2012 - 2013

Autumn Term Monday 1 October 2012 – Saturday 8 December 2012

Spring Term Monday 7 January 2013 – Saturday 16 March 2013

Summer Term Monday 22 April 2013 – Saturday 29 June 2013

2013 - 2014

Autumn Term Monday 30 September 2013 - Saturday 7 December 2013

Spring Term Monday 6 January 2014 - Saturday 15 March 2014

Summer Term Wednesday 23 April 2014 - Saturday 28 June 2014

2014 - 2015

Autumn Term Monday 29 September 2014 - Saturday 6 December 2014

Spring Term Monday 5 January 2015 - Saturday 14 March 2015

Summer Term Monday 20 April 2015 - Saturday 27 June 2015

2015 - 2016

Autumn Term Monday 5 October 2015 - Saturday 12 December 2015

Spring Term Monday 11 January 2016 - Saturday 19 March 2016

Summer Term Monday 25 April 2016 - Saturday 2 July 2016

2016 - 2017

Autumn Term Monday 3 October 2016 - Saturday 10 December 2016

Spring Term Monday 9 January 2017 - Saturday 18 March 2017
Summer Term Monday 24 April 2017 - Saturday 1 July 2017
APPENDIX 2

GUIDELINES FOR THE WRITING OF ESSAYS

Essay writing is a personal and creative activity but it is done within conventions of scholarly practice. Getting a practical sense not just of the balance, but of the relationship between these two aspects will be a large part of your progress.



1. The Purpose of Essays

Preparing and writing essays is one of the main ways in which students on the degrees in the Department of Film and Television Studies develop their abilities. It is also through essays, along with invigilated examinations, that the department tests students. An essay is an opportunity to formulate ideas, to set out an argument and to support it with evidence. The argument is yours but it is not just your opinion. Your work should be original, not necessarily in the sense of presenting something never previously thought of, but in taking responsibility for your own argument. Essays sharpen analytic, rhetorical and writing skills that can then be applied to other tasks. These ‘transferable skills’ are highly prized by potential employers who value good communication.



2. Use of Background Material

In preparing your essay you will generally consult some historical, critical and theoretical studies relevant to the topic. This background reading may in some cases be less important than your close study of films and televisual works, but it is essential to enable you to extend and focus your own responses. The department encourages the development of individual analytical skills, backed by knowledge and established sources. Essay writing will allow you to explore your own point of view, supported by the evidence you have gathered.

With this in mind, make sure you note the details of secondary sources as you read them (see (d) ‘Acknowledgement of sources’ below). Use the notes you have made, but avoid confusing them with a formulation of your own view. The books and articles you consult acknowledge their sources; this is normal academic practice and you must follow it.

Note on Plagiarism

Plagiarism is the abuse of secondary reading in essays. It consists first of the direct transcription, without acknowledgement, of passages, sentences or even phrases from someone else’s writing, whether published or not. It also refers to the presentation as your own of material from a printed or other source with only a few changes in wording. There is a grey area where making use of secondary material comes close to copying it, but the problem can usually be avoided by acknowledging that a certain writer holds similar views. All quotations from secondary sources, including the Internet, must therefore be acknowledged each time they occur. It is not enough to include the work from which they are taken in the bibliography at the end of the essay, and such inclusion will not be accepted as a defence should plagiarism be alleged.

The university regards plagiarism as a serious offence. A tutor who finds plagiarism in an essay will report the matter to the Chair of the Department. The Chair may, after hearing the case, impose a penalty of a zero mark for the essay in question. This can have serious consequences for first-year results. In the case of second-year and third-year students, the matter may go to a Senate disciplinary committee. If plagiarism is detected in one essay, it is likely that other essays by the student concerned will be examined for evidence of the same offence.

In practice, few students are deliberately dishonest and cases of plagiarism may arise from bad scholarly practice. There is nothing wrong with using other people’s ideas. In fact one good kind of undergraduate essay is an intelligent survey and synthesis of existing views. The important thing is to know what is yours and what is not and to communicate this clearly to the reader.



3. Scholarly Presentation

Observing certain principles of scholarly presentation for assessed essays is a basic and transferable skill. It aids clarity of communication and enables you to provide a full account of the argument you are putting forward.



N.B. Please note that from 2010/11 onwards we will routinely ask students to provide an electronic copy of some of their essays, which will be scrutinised by the online plagiarism source-matching service TurnItInUK, which scans coursework for any evidence of collusion between students, unacknowledged use of any source available online and also use of cheat sites.

(a) General presentation

  • Students must submit their essays in word-processed form.

  • A word count must be provided at the end of the essay, and recorded on the front sheet. Footnoted references, along with bibliographies and filmographies, should not be included in the word count, but all other text (including quotations) must be.

  • Use A4 size paper.

  • Print on one side only of each sheet.

  • Number all pages.

  • Unless otherwise instructed, insert your name at the head of your essay, on the right-hand side, and on the left-hand side the name of the tutor. Below this should appear the title or question for discussion.

  • Leave wide margins for tutors’ comments on either side of the page, with space also at the top and bottom.

  • Text must be double-spaced.

  • Keep a copy of your essay for future reference.

  • All essays must include both a bibliography and a filmography.

(b) Presentation of titles (films, books etc) and foreign words

  • Titles of films, books, long poems first published individually, television programmes, plays, paintings and periodicals must be italicised.

Examples: Citizen Kane; Film Art: An Introduction; Paradise Lost; Big Brother; The Merchant of Venice; The Birth of Venus; Sight and Sound.

  • The titles of articles published in periodicals, essays in edited collections, and short poems in anthologies should be presented in single quotation marks.

Example: Laura Mulvey argues in her essay ‘Visual Pleasure and Narrative Cinema’ that…

  • Words or brief phrases in foreign languages, unless they are part of a larger quotation, should also be italicised.

Example: A common feature of fin de siècle novels was…

(c) Quotations

  • All quotations, from whatever source, should be exact in wording, spelling and punctuation.

  • Short quotations embedded in the main text should be enclosed in single quotation marks and should be accommodated to the syntax of the sentence in which they occur. Three dots (ellipsis) are used to indicate where words or phrases have been cut from a quotation. Accommodation to syntax of sentence is indicated by the use of square brackets ([ ]).

Example: In Hollywood Genres, Thomas Schatz claims that ‘the gangster genre has had a peculiar history ... [and that] its evolution was severely disrupted by external social forces’.

  • Quotations within quotations should be differentiated by putting double quotation marks within single ones.

Example: According to Schatz, ‘in the words of Johnny Rocco (Edward G. Robinson) in Key Largo: “There are thousands of guys with guns -- but there’s only one Rocco”’.

  • Long prose quotations (i.e. those which take up more than three lines of text) and quotations in verse should be indented by one tab stop from the left hand margin, single spaced – though separated from the surrounding text by an extra line space before and after – and presented without quotation marks.

Example:

In Jarman’s Edward II, as Edward embraces Gaveston, Annie Lennox sings Cole Porter’s lyrics:

Every time we say good-bye

I die a little,

Every time we say good-bye

I wonder why a little.



The significance of this anachronistic choice of song is…

(d) Acknowledgement of sources

  • Every time you insert a quotation, refer to information, or paraphrase an idea drawn from another writer, you must provide a reference which clearly indicates the original source.

  • There are several referencing systems in operation. Below are guidelines on using the ‘author-title’ system which is the set of conventions most widely used by other departments in the Faculty of Arts and humanities disciplines generally, and which we strongly recommend. For a more exhaustive account of the rules of use for this system please consult the MHRA Style Guide (London: Modern Humanities Research Association, 2002), available in the library.

  • In the author-title system, references are presented as footnotes or endnotes. A numeral in the main text will direct the reader to the equivalent footnote or endnote containing the reference details. All modern word-processing applications have the facility to insert and auto-format footnotes/endnotes. (N.B. The numerals in the main text should ideally be placed at the end of a sentence rather than in the middle of one – even if this means they do not immediately follow the close of a quotation.)

  • On the first occasion that a particular source is referred to, the reference must include full bibliographic details for the source along with the relevant page number. The full references for published sources should always be presented in the format shown below.

Examples:

1 Robert Sklar, Movie-Made America: A Cultural History of American Movies (New York: Random House, 1975), p. 56.

2 Richard Maltby, ‘“Grief in the Limelight”: Al Capone, Howard Hughes, the Hays Office, and the Politics of the Unstable Text’, in James Combs (ed.), Movies and Politics (Westport: Greenwood Press, 1992), pp. 104-105.

3 Barbara Klinger, ‘Digressions at the Cinema: Reception and Mass Culture’, Cinema Journal, 28:4 (Summer 1989), pp. 3, 5.

N.B. Observe that whilst the references for single-author monographs and edited collections must indicate the place of publication and the name of the publishers of the book concerned, references to periodicals do not. ‘28:4’ in the reference to Cinema Journal means volume 28, issue 4; periodicals which are published less than four times a year tend to count issues by number only. Also note that if a single page is referenced, the abbreviation for the page number is ‘p.’; a reference to more than one page is indicated by ‘pp.’.

  • If you make successive references to the same source, then the Latin abbreviation ‘Ibid.’ (short for ibidem, which means ‘in the same place’) is used in place of the author’s name and the title of the source etc. ‘Ibid.’ is all that is needed if you are referring to the same page from this source in successive references. If you are referring to a different page this must be indicated.

Example:

1 Robert Sklar, Movie-Made America: A Cultural History of American Movies (New York: Random House, 1975), p. 56.

2 Ibid.

3 Ibid., p. 58.

  • When further references to the same source do not immediately follow the initial citation, ‘ibid.’ cannot be used. But all subsequent references are shortened to the author’s surname and a succinct version of the source title.

Example:

3 Barbara Klinger, ‘Digressions at the Cinema: Reception and Mass Culture’, Cinema Journal 28:4 (Summer 1989), pp. 3, 5.

4 David Bordwell, Janet Staiger and Kristin Thompson, The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (London: Routledge, 1985), p. 23.

5 Klinger, ‘Digressions at the Cinema’, p. 11.

6 Bordwell, Staiger and Thompson, Classical Hollywood Cinema, p. 23.

  • When you quote something from a source you have not directly consulted, but which is cited in another secondary source, this must be clearly indicated in your reference.

Example:

Laura Mulvey has written that ‘Hollywood films made with a female audience in mind tell a story of contradiction, not of reconciliation’.7



7 Laura Mulvey, ‘Notes on Sirk and Melodrama’, Movie 25 (Winter 1977-78), p. 56; quoted in Richard Maltby, Hollywood Cinema (2nd edn.; Oxford: Blackwell, 2003), p. 353.

Bibliography

All assessed essays must include a bibliography at the end which lists every written source which you have directly consulted. Each entry must include the same amount of publication information provided in the initial reference to the source in your footnotes/endnotes. The only differences in the way this information should be formatted in your bibliography are:



  • Author surnames are listed first (the bibliography must be ordered alphabetically by surnames). If the source consulted was authored anonymously then ‘Anon.’ or ‘ANONYMOUS’ should be written in place of a surname.

  • Page numbers are not needed for listing monographs, but bibliographic entries for essays in edited collections and articles in periodicals should indicate the page range occupied by the essay/article.

  • When an essay from an edited collection is listed, the book itself should be listed separately under the surname of its editor(s) – see the Geraghty/ Brunsdon example below.

Example:

Bibliography:

Banton, Michael, The Idea of Race (London: Tavistock, 1977).

Brunsdon, Charlotte (ed.), Films for Women (London: British Film Institute, 1986).

Fischer, Lucy (ed.), Imitation of Life: Douglas Sirk, Director (New Brunswick: Rutgers University Press, 1991).

Geraghty, Christine, ‘Three women’s films’ in Brunsdon (ed.), Films For Women, pp. 138-145.

Malbert, Roger, and Coates, John, Exotic Europeans (London: South Bank Centre, 1991).

Newman, Kim, review of Sin City, in Sight and Sound 15:6 (June 2005), pp. 72-74.

Vincendeau, Ginette, ‘Gérard Depardieu: The Axiom of Contemporary French Cinema’, Screen 34:4 (Winter 1993), pp. 343-361.



Internet citations

References must be given for all written material consulted and cited, including internet sources. The conventions for quotations from books and journals (see above) also apply to internet sources, and all such sources should be included in your bibliography.

The agreed conventions for internet citations take the following basic form:

Author of page/s, name/title of page/s (in inverted commas), name of website (italicised), date of posting (in parentheses; write ‘n.d.’ if this information cannot be ascertained), page number (if indicated)*, URL, date accessed.



Example:

Ghosh, Arup Ratan, ‘Satyajit Ray’s Male Gaze’, Views, Reviews, Interviews, (2000) , accessed 18 May 2003.

Online journals often indicate an issue number, just like a published periodical, rather than a specific posting date, and, in such cases, the way in which publication information is presented at source should be duplicated.

Example:

Norton, Glen W., ‘Nostalgia for the Present: The Godard Renaissance Continued’, Senses of Cinema 35 (April-June 2005) , accessed 12 June 2005.

*An increasing number of hard-copy journals are published simultaneously in an online format, and the latter generally replicate the exact layout of the printed version to the extent that they indicate page breaks and page numbers.

Citations of unpublished/non-written sources

Lectures

There may be occasions when you wish to make clear that certain statistics or ideas which you are presenting in an essay have been taken from a course lecture. The convention for indicating this in a footnote/endnote reference is demonstrated below.



Example:

9 Charlotte Brunsdon, lecture given at the University of Warwick, Coventry, 21 January 2007.

N.B. Such sources should not be indicated in your bibliography.

Films

  • When a film is first mentioned within the text, details of director and/or production company and/or country of origin and the year, should be included.

Example:

The Big Sleep (Howard Hawks, Warner Brothers, USA, 1944).

  • On the first occasion that you refer to a particular character in a film, you should indicate the identity of the actor playing him/her.

Example:

The main protagonist Philip Marlowe (Elliot Gould) is first seen…



  • All essays must include a filmography, following the bibliography, which should provide details of all films viewed in the preparation of the essay and referred to in the text.

  • A film entry in a filmography usually begins with the title (italicised), and includes the director, the country of origin, and the year. You may include other details that seem pertinent, such as the names of the principal performers or the production company. It is recommended that you include the names of the major characters in brackets after the names of the performers.

Example:

To Have and Have Not. Dir. Howard Hawks, Prod. Warner Brothers, USA, 1944. Main cast: Humphrey Bogart (Harry Morgan), Lauren Bacall (Slim), Walter Brennan (Eddie).

  • References to films in both notes and main text should include full title with initial capitalisation according to the accepted style of the language concerned. (For courses like National Cinemas I & II where foreign language films are extensively studied, the module leader will explain how titles should be capitalised in the relevant language.) Titles should always be italicised. In the case of non-English language films, original release titles in the original language should be followed by the US and/or British release title.

Example:

L’Amour violé/Rape of Love.

Television or radio programmes

  • When television or radio programmes are discussed or alluded to in your essay, they must also be listed in your filmography. Information for such sources usually appears in the following order:

a) Title of episode or segment, if appropriate (in quotation marks)

b) Title of programme (italicised)

c) Country of origin

d) Name of channel or network

e) Transmission date. This is abbreviated to ‘tx’, and can be found for all programmes broadcast in the UK after 1995 in the online Television and Radio Index for Learning and Teaching (TRILT) at: http://www.trilt.ac.uk/index.php.

Example:

‘Sold’, episode one, Band of Gold, first series, UK, Granada, tx. 12.3.1995.

Writer: Kay Mellor, Dir: Richard Standeven, Prod: Tony Dennis

Main cast: Cathy Tyson (Carol), Geraldine James (Rose), Barbara

Dickson (Anita), Ruth Gemmell (Gina).


  • Within the main text, the first (and only the first) reference made to a television programme should be dated from the year of first transmission and, in the case of long-running serials, the duration of the run should be indicated. Details of production company, channel, country, may be supplied where they are relevant to the argument but otherwise are best left for inclusion in the filmography.

Example:

Coronation Street (Granada, 1961 -) is notable for its emphasis on strong, witty and independent-minded women.

Where writers or producers are credited their role should be indicated.



Example:

Where the Difference Begins (Writ. David Mercer, BBC, 1961) was one of Mercer’s most important contributions to television drama.

DVDs

The conventions for referencing information or quotations taken from the audio commentary on a LaserDisc or DVD take the following basic form:

Name of speaker, name and date of origin of film, media format, publisher of disc, place and year of disc publication, ASIN code (usually listed on retail websites like Amazon if not on the disc packaging).

Example:

4 Kenneth Bowser, audio commentary on Sullivan’s Travels (1941) (DVD, Criterion Collection, USA, 2001) ASIN: B00005JH9C.



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