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Thesis Proposal Seminar
Wednesday 2—4:40 COM108
Mark Freeman
mfreeman@mail.sdsu.edu
Office Hours: By Appointment & Monday 10:30 – 11:30 a.m.
Office: Little Theatre 171c
COURSE DESCRIPTION
Students are encouraged to consider literary and filmic precedents and the social,
political, economic, historical and cultural contexts of their production work. Your thesis
production projects should show evidence of a critical concern with formal issues as well
as technical excellence.
This course is designed to enable students to conceptualize and write a TFM Masters
Thesis Proposal. This class includes individual writing, group analysis of examples, and
peer feedback. In addition to the work done directly in class, students will identify and
consult with the members of their thesis committees, especially the thesis chair.
OBJECTIVES
-
- Identify and express in writing the central concept of TFM Masters Thesis
proposal. - Identify and express in writing the significant subproblems involved in the
creation of the creative project. - Assemble a bibliography and filmography relating to the creative project, discussing in specific terms the relevance of each entry to the project.
- Identify and justify the aesthetic strategies involved in the execution of the
creative project. - Master the required presentation format (MLA), and source citation protocols.
- Identify and express in writing the central concept of TFM Masters Thesis
EVALUATION
Attendance and Class Participation
Regular attendance and active participation is expected and essential. The success of the
seminar and the success of your proposal depends on a high level of trust and critical
interaction among students. Absences will negatively impact your evaluation.
Chapter 1 25%
Chapter 2 35%
Chapter 3 15%
Appendix 15%
Treatment and/or Script
Budget
Timeline
Crew
Power Point Presentation of Film and related Literature 10%
Each student will make a class presentation and lead discussions. Students will choose a
film and theme of direct relevance to their thesis project. Students will discuss the genre
and theme of the film, and relate it to a reading that will inform their Thesis Proposal.
At least one week prior to each presentation, the presenter will provide copies of appropriate critical readings to the class. Please post your reading on the Forum (BB) or make copies available. Half the grade for this assignment depends upon timely delivery
of the reading and thoughtful discussion of it.
These readings should compliment the film screened and the themes discussed. (Note
that critical readings are not usually found on the internet. This will require research in
books and/or professional journals.) The class session itself will include a PowerPoint
presentation, the screening of a portion of the film selected by the presenter, and a
discussion of the film and the readings in terms of the presenter’s thesis proposal.
The PowerPoint will be emailed to the instructor.
Reflection Journal/Artist’s Notebook
Students should keep a journal and make at least weekly entries. These entries can
consider the challenges and triumphs of the creative process. It’s a place to record
significant observations; to record dreams; and to pose questions for further research and
development. You may include notes about the development of characters, conflicts and
locations. The journal is a place for you to systematically reflect and consider the
progress you are making in your creative journey. Insofar as you may choose to critically
consider the “process of your production” in your thesis Chapter 4, the journal can
provide important “raw footage.”
THESIS NOTEBOOK
Each student will create a thesis notebook.
In the inside front cover affix a copy of the Assignment Due dates as outlined below.
This notebook is a spiral binder, with hole punched papers (not plastic sleeves), with
dividers for each sub-section of Chapters 1-3 plus the Appendix. The notebook will be
organized so that the most recent draft of each section is on top and the worksheet for that
section is last.
The notebook should conform to the outline below which describes Chapter 1 with 6
subsections; Chapter 2 with 5 subsections; Chapter 3 with 2 subsections plus an
Appendix including the Treatment and/or Script, Budget, Timeline and Crew.
Include completed Peer Review Forms in your notebook in the appropriate section.
When a chapter is completed and ready for grading all the final versions of each
subsection should be compiled and placed by a divider identified as
Final Draft Chapter # Date.
Chapter 1: THE PROBLEM AND ITS SETTING
Statement of Problem
Statement of the Sub problems
Goals and Objectives
Definition of Terms
Delimitations
Significance of Project
Chapter 2: REVIEW OF RELATED LITERATURE, FILMS AND GENRES
Literature on Project Topic
Literature on Project Style
Related Film Theory
Films and/or genres that relate Thematically
Films and/or genres that relate stylistically
Chapter 3: METHODS AND PROCEDURES
Formal approach (style, aesthetic approach)
Tactics and strategies employed in solving stated problem
Appendix:
Treatment and/or Script
Budget
Timeline
Crew
Writing Style and Mechanics
A thesis should be clear, concise and coherent. It makes a case based on evidence and
research. The best academic writing is not personal or colloquial; nor is it unnecessarily
abstract or convoluted.
See the recommended texts for guidance regarding both writing style and the intellectual,
emotional and psychological challenges of the process. How long should your thesis
proposal be? How long should your film be? Only as long as necessary. Demonstrate
your familiarity with the topics, techniques and approaches you are proposing. Rely on
the writings and insights of the best scholars and filmmakers you can identify. Review
the examples of successful theses on BB. Frame the writing process as an opportunity to
become a better, more grounded filmmaker, rather than as an obstacle to be overcome.
Take particular care regarding word choice, spelling, grammar and sentence construction.
Read your work out loud. Does it make sense? Is it easy to follow? Ask friends and
colleagues whose writing you respect to look over a draft. This class is best used as
forum for the development of ideas; polishing your prose means making a commitment to
write and rewrite, to revise and reconsider. A poorly crafted proposal is an impediment.
If your writing skills are not as strong as you would like, seek out help at the writing
center or from a more experienced writer and editor.
See the resources on BB under Research and Writing. In particular it is essential that you
format your proposal following the MLA style guidelines.
Screenplays should be in standard screenplay format. Documentary scripts can be in two
column AV format.
Make your words as expressive as your film.
Budgets
The budget should reflect the prevailing rates for all equipment and services. It should
reflect a realistic estimate of the time commitment required to complete the production.
See the templates on BB.
Include columns that reflect Cash-on-Hand; In-kind Contributions and To be Raised.
The advantages of this more rigorous budgeting are a realistic valuation of your time and
effort, and the creation of a model that will be useful in producing professional
productions.
Working with a Thesis Chair
The sooner you identify and recruit a chair, the more you and your work will benefit. It
takes time and some effort to build a strong relationship with your chair. Faculty
generally do not react well to last minute requests with a looming deadline.
Pick a faculty member who has a clear appreciation both for your talents and for the story
you are choosing to tell. Develop working methods grounded in clear communication and
mutual respect. Your chair can be an invaluable source of resources, suggestions and
useful criticism. Chairs take no small pleasure in the success of their students.
See Chapter 3 in Secrets for a Successful Dissertation and Chapter 2 in Writing Your
Dissertation in Fifteen Minutes a Day.
Assignments and Due Dates
Assignments
Rewriting and revising is expected and encouraged. Feel free to work ahead of the schedule below. This is much preferable to falling behind.
Work is due on the dates indicated below at the beginning of the class session.
Assignments should be12 pt font, Times New Roman, double-spaced and submitted as
hardcopy.
Note that a draft is usually due in class a week before it is submitted for a grade. This
first due date is an opportunity for you to get feedback from peers and the instructor. It is
essential that all of these deadlines be met. Failure to do so will seriously jeopardize the
likelihood of your thesis proposal being approved for production beginning Fall 11.
Unless requested by the instructor emailed work will not be accepted.
Late work will not be accepted.
Note this timeline does not include the dates of the individual in-class PowerPoint
presentations.
Chapter 1: THE PROBLEM AND ITS SETTING
Due Class Date Completed
Treatment and/or Scripts 2
Abstract 2
Worksheet Problem and Sub-problem 2
Statement of Problem 3
Statement of the Sub-problems 3
Worksheet Goals and Objectives 4
Goals and Objectives 4
Worksheet Definition of Terms 4
Definition of Terms 4
Worksheet Delimitations 5
Delimitations 5
Worksheet Significance of Project 5
Significance of Project 5
Draft of Chapter 1 for grade 6 Grade:
Chapter 2: REVIEW OF RELATED LITERATURE, FILMS AND GENRES
Due Class Date Completed
Worksheet Literature on Project Topic 6
Literature on Project Topic 6 and 7
Worksheet Related Film Theory 7
Related Film Theory 8
Worksheet Films and/or genres that relate Thematically 8
Films and/or genres that relate Thematically 9
Worksheet Films and/or genres that relate stylistically 9
Films and/or genres that relate stylistically 10
Draft of Chapter 2 for grade 12 Grade:
Chapter 3: METHODS AND PROCEDURES
Due
Class
Date Completed
Worksheet Methods and Procedures 12
Formal approach/Methods and Procedures 12
Draft of Chapter 3 for grade 13 Grade:
Appendix:
Due
in
Class
Date Completed
Abstract, Treatment and/or Script 2
Budget 13
Timeline 13
Crew 13
Submission of Appendix for Grading 14 Grade:
Week 15 Correct Formatting and Review. Identify any remaining revisions. Prepare Title
Page and Table of Contents.
Week 16 Secure Committee Signatures and submit complete proposal in hardcopy and
electronically. See FORMS on BB.
PLAGIARISM
Students should be especially careful to avoid “borrowing” from internet sources and
each other. There will be “zero-tolerance” for plagiarism. Cheating or plagiarism will
result in an “F” for the course and a report to the office of Student Rights and
Responsibilities. Be sure to cite all of your sources with page numbers and url’s as
appropriate.
Required Book
SDSU Master Thesis and Project Manual
Recommended
[You must produce a Works Cited for all quotes. A correct citation includes: Author.
Title. Place of Publication: Publisher. Date of Publication. Medium.]
Bolker, Joan. Writing Your Dissertation in Fifteen Minutes a Day: A Guide To Starting,
Revising, and Finishing Your Doctoral Thesis. NY: Holt, 1998. Print.
Fitzpatrick, Jacqueline, Debra J. Wright and Jan Secrist. Secrets for a Successful
Dissertation. Thousand Oaks: Sage Publications, 1998. Print.
Lowenstein, Stephen, ed. My First Movie. NY: Penguin Books, 2000. Print
Strunk, Jr. William. The Elements of Style Boston: Allyn and Bacon, 2000. Print.
Shertzer, Margaret D. The Elements of Grammar. NY: Longman, 1996. Print.
Research Guides
Corrigan, Timothy. Short Guide to Writing about Film. New York: Longman, 2010. Print.
http://infodome.sdsu.edu/research/guides/film.shtml
http://infodome.sdsu.edu/research/guides/filmcriticism.shtml
Also see BB Forum
IDENTIFYING YOUR PROJECT CONCEPT
WEEK 1
Classwork: Project concept brainstorms, examples of abstracts.
Be prepared to tell us what you know about your proposed thesis project.
Begin drafting an Abstract and Treatment.
Choose a writing partner.
Sign up for presentations.
Thesis Choice Pro Con Worksheet (BB)
Library Orientation 3:30 –4:30 LA78
WEEK 2
Resources BB Sample Thesis and ITVS Treatment click Proposal Chapter scroll to
end.
Writing Due:
Treatment and/or Scripts
Abstract
Worksheet Problem and Sub-problem
Classwork: Peer feedback. Bring Peer Review Forms (BB) to class each week.
Note: Identify and consider possible committee members
Chapter 1: THE PROBLEM AND ITS SETTING
WEEK 3
Writing Due:
Statement of Problem
Statement of the Sub-problems
Note: Set up meetings with possible committee members this week
WEEK 4
Writing Due:
Worksheet Goals and Objectives
Goals and Objectives
Worksheet Definition of Terms
Definition of Terms
Classwork: Peer feedback
WEEK 5
Writing Due:
Worksheet Delimitations
Delimitations
Worksheet Significance of Project
Significance of Project
Classwork: Feedback
Note: Your committee should now be established. From here on in, you should be in communication with at least your chair regarding the development of your project. You
should consult with your chair and/or other committee members as you develop
production elements such as script, schedule, budget etc.
Chapter 2: REVIEW OF RELATED LITERATURE, FILMS AND GENRES
WEEK 6
Writing Due:
Draft of Chapter 1 for grade
Worksheet Literature on Project Topic
Literature on Project Topic
Classwork: Feedback
WEEK 7
Writing Due:
Literature on Project Style
Worksheet Related Film Theory
Classwork: Feedback
WEEK 8
Writing Due:
Related Film Theory
Worksheet Films and/or genres that relate Thematically
Classwork: Feedback
WEEK 9
Writing Due:
Films and/or genres that relate Thematically
Worksheet Films and/or genres that relate stylistically
Classwork: Feedback
WEEK 10
Writing Due: Films and/or genres that relate stylistically
Classwork: Feedback
WEEK 11 Spring Break No Class
Chapter 3: METHODS AND PROCEDURES
WEEK 12
Writing Due:
Draft of Chapter 2 for grade
Worksheet Methods and Procedures
Formal approach/Methods and Procedures
Classwork: Feedback
Appendix:
WEEK 13
Writing Due:
Draft of Chapter 3 for grade
Budget
Timeline
Crew
Classwork: Feedback
WEEK 14
Submission of Appendix for Grading
Classwork: Feedback
WEEK 15
No class —individual meetings with students
Writing Due:
Week 15 Correct Formatting and Review. Identify any remaining revisions. Prepare Title
Page and Table of Contents.
WEEK 16
ABSTRACT, FINAL PROPOSAL including Appendix, and COMMITTEE FORM
DUE IN CLASS 5-4-11.
Secure Committee Signatures and submit scanned signature form, abstract and complete
proposal in hardcopy and electronically using the Dropbox on BB. See FORMS on
BB.
Name your files according to this protocol
lastname.committee.doc
lastname.abstract.doc
lastname.proposal.doc
With the endorsement of the instructor, the Committee Form and the Abstract will be
forward by the instructor to the Faculty for their approval.
Students will be notified regarding the acceptance of their thesis proposal by email.
Students are expected to attend the Filmmakers Showcase in Don Powell May 19, 2011.