Posted on by Christopher John Williams

Exercise 3.3

The goal of this exercise is to use the research resources of the Queens College Rosenthal Library to find sources for your research project.

Due by 10:00 a.m. Thursday, April 19th
Estimated time: 2 hours

For the scholarly research essay, you will need to situate your review within at least three contexts:

  • the sociohistorical context i.e. you must consider the social and historical factors that contribute to the exhibit’s popularity (or unpopularity) .
  • the generic context i.e. you must evaluate the exhibit within the conventions of the particular genres that define it.
  • the existing map of opinion i.e. you must critically engage existing ideas about your exhibit in order to develop your own original viewpoints.

To do so, we will use the range of resources accessible through the QC library. Contact Librarian David Williams (david.williams@qc.cuny.edu) if you have any questions about or need additional help using the library’s many resources.

Assignment

For this homework exercise, you will use the library (and Internet search engines when appropriate) to find:

  • ONE contextual source about the popularity of your exhibit. For example, if you are analyzing the popularity ofThe Walking Dead in American society, you will need to find a source that provides absolute and relative viewership statistics. For example:
    1. How many people watch the show?
    2. What types of people?
    3. What are trends in the viewership? Is viewership decreasing? Increasing?
    4. How do these numbers compare to other similar shows currently on television?
    5. How do these numbers compare to similar shows from other time periods?
  • ONE or TWO argument sources that explain the existing main opinions about the aspect of your exhibit that you are interested in exploring. For example, if you are analyzing the popularity of The Walking Dead in American society, you will need sources that articulate the opinions that already exist about its popularity. For example:
    1. Is there a predominant viewpoint about your exhibit? What is it?
    2. Has the predominant viewpoint changed over time?
    3. Is there a debate about your exhibit? Why? What are the different perspectives in the debate?
  • ONE contextual source that provides relevant information about contemporary social or political issues that are arguably addressed in your exhibit. For example, if you are analyzing the popularity of The Walking Dead in American society, you may need to find a source that reports on citizens’ growing fears about societal collapse or nuclear war. For example:
    1. What are the main social or political issues addressed in the show?
    2. What contemporary real-world reporting has been done about these issues?
  • ONE theoretical source that explains and explores the conventions, functions, and/or implications of the genre of your exhibit. For example, if you are analyzing the popularity of The Walking Dead in American society, you may need to find a source about horror film and television. There are often multiple ways that an exhibit can be classified or categorized; therefore, a wise place to start is to research how it is already typically classified. For example:
    1. How is the show typically classified?
    2. Is it classified or categorized in a variety of ways?
    3. How are these categories defined? How do they typically work (according to experts or scholars)? What do they typically do (according to experts or scholars)?

Therefore, your aim is to produce a Works Cited list in MLA style that includes your exhibit (i.e. the film you are analyzing) and (at least) the four or five sources that you will find from this exercise. Post the MLA citations for the sources you find as a comment.

22 Replies to “Exercise 3.3”

  1. My Exhibit Movie: The Cabin in The Woods
    My Sources:
    1. Whedon, Joss, and Drew Goddard. “The Cabin in the Woods.” The Cabin in the Woods (2012) – Rotten Tomatoes, 17 Apr. 2018, http://www.rottentomatoes.com/m/the_cabin_in_the_woods.

    2. O. Scott, A. “Taking a Chain Saw to Horror Movie Clichés.” The New York Times, The New York Times, 12 Apr. 2012, http://www.nytimes.com/2012/04/13/movies/the-cabin-in-the-woods-by-drew-goddard-and-joss-whedon.html.
    Brannan, Alex. “The Cabin in the Woods: Cliches Manipulated or Perpetuated?” CineFiles Movie Reviews, 1 July 2017, cinefilesreviews.com/2016/05/13/the-cabin-in-the-woods-cliches-manipulated-or-perpetuated/.

    3. Muller, Benjamin J. “Is There a Cabin in the Woods? Reflections on Mass Surveillance and Human Rights.” E-International Relations, 21 Dec. 2014, http://www.e-ir.info/2014/12/21/is-there-a-cabin-in-the-woods-reflections-on-mass-surveillance-and-human-rights/.

    4. Prohaszkova, Viktoria. “The Genre of Horror .” American International Journal of Contemporary Research , vol. 2, no. 4, Apr. 2012, pp. 132–142.

    Reply

  2. 1. the boy in the striped pajamas movie:
    Herman,Mark,Director. The Boy in The Striped Pajamas. IMDb,BBC film,2008
    https://www.imdb.com/title/tt0914798/

    2.argument source:
    Michael Gray . The Boy in the Striped Pyjamas: A Blessing or Curse for Holocaust Education?, Holocaust Studies, p 109-136.03,June,2015
    https://www.gcedclearinghouse.org/sites/default/files/resources/The%20boy%20in%20the%20striped%20pyjamas.PDF

    3.argument source:
    Gilbert, Ruth. Grasping the Unimaginable: Recent Holocaust Novels for Children by Morris Gleitzman and John Boyne, Springer Netherlands, p355–366, December 2010
    https://link.springer.com/article/10.1007/s10583-010-9119-7#citeas

    4.theoretical source
    Short,Geoffrey.Issue in Holocaust Education. Ashgate Publishing,2004
    https://books.google.com/books?hl=en&lr=&id=WzErDwAAQBAJ&oi=fnd&pg=PP1&dq=the+purpose+of+holocaust+education&ots=DDOkYVp6mZ&sig=YbJkNRa1p2D6K-bhO0knlqssVNo#v=onepage&q=the%20purpose%20of%20holocaust%20education&f=false

    5. contextual source
    Stone,Dan.Histories of Holocaust.Oxford University Press,Inc.2010
    https://books.google.com/books?hl=en&lr=&id=Xs0UDAAAQBAJ&oi=fnd&pg=PR9&dq=holocaust+history&ots=9tBhbypzHJ&sig=MC5Zm6JLBtQYJ1sT4t0FvXKdy4U#v=onepage&q=holocaust%20history&f=false

    Reply

  3. – I, Robot. Director Alex Proyas. Perf: Will Smith, Bridget Moynahan, Bruce Greenwood.
    20th Century Fox. 2004. Film.

    – Contextual Source: Brayton, Sean. “The Post-White Imaginary in Alex Proya’s “I, Robot..”
    Science Fiction Studies, vol. 35, no. 1, Mar. 2008, pp. 72-87. EBSCOhost,
    search.ebscohost.com/login.aspx?direct=true&db=a9h&AN=30070315&site=ehost-live

    – Contextual Source: WEIDI, EHSAN. “Robophobia in Irobot.” International Review of
    Psychiatry, vol. 21, no. 3, June 2009, pp. 283-284. EBSCOhost,
    doi:10.1080/09540260902747805.

    – Contextual Source: McGowan, Kate. “Oedipal Androids: Desire and the Human in the Third
    Millennium.” Technoetic Arts: A Journal of Speculative Research, vol. 4, no. 1, Apr. 2006,
    pp. 39-54. EBSCOhost, doi:10.1386/tear.4.1.39/1.

    – Theoretical Source: Dirks, Tim. “Film Genres. Filmsite, 2018,
    http://www.filmsite.org/filmgenres.html.

    Reply

  4. Sources:
    1. Exhibit:
    Charles, Larry, et al. Borat Cultural Learnings of America for Make Benefit Glorious Nation of
    Kazakhstan. Anamorphic widescreen format (1.85:1).. ed., 20th Century Fox Home
    Entertainment, 2007.

    2. Contextual Source about the popularity of exhibit:
    Rottentomatoes.com. (2018). Borat. [online] https://www.rottentomatoes.com/m/borat/
    [Accessed 19 Apr. 2018].

    3. Argument Source:
    Chehade, Ghada. “The Problem with Borat.” Taboo, vol. 11, no. 1, 2007, pp. 63-
    71. ProQuest, http://queens.ezproxy.cuny.edu:2048/login?
    url=https://search-proquest-
    com.queens.ezproxy.cuny.edu/docview/1650149260?accountid=13379.

    4. Argument Source:
    Malecki, Wojciech. “Borat, or pessimism: on the paradoxes of multiculturalism
    and the ethics of laughter.” Post Script, Summer 2009, p. 123+. Academic
    OneFile,
    http://link.galegroup.com.queens.ezproxy.cuny.edu/apps/doc/A211362430/AONE?
    u=cuny_queens&sid=AONE&xid=3444a4c8. Accessed 18 Apr. 2018.

    5. Contextual Source about contemporary social and political issues:
    AWAN, MUHAMMAD SAFEER. “Global Terror and the Rise of Xenophobia/Islamophobia: An
    Analysis of American Cultural Production since September 11.” Islamic Studies, vol. 49, no. 4,
    2010, pp. 521–537. JSTOR, JSTOR, http://www.jstor.org/stable/41581122.

    6. Theoretical Source about the genre:
    Campbell, Miranda. “The Mocking Mockumentary and the Ethics of Irony.” Taboo, vol. 11, no. 1,
    2007, pp. 53-62. ProQuest, http://queens.ezproxy.cuny.edu:2048/login?url=https://search-
    proquest-com.queens.ezproxy.cuny.edu/docview/1650149231?accountid=13379.

    Reply

  5. Movie:
    Death Note. Dir. Shusuke Kaneko. Perf. Tatsuya Fujiwara and Ken’ichi Matsuyama. Warner Bros.(Japan), 2006. Movie

    Sources:
    1. Komiya, Nobuo. “A cultural study of the low crime rate in Japan”. The British Journal of Criminology, Summer 1999, Vol.39(3), pp.369-390

    2. Gooch, Graham and Williams, Michael. “clear‐up rate”. A Dictionary of Law Enforcement. Oxford University Press, 2015

    3. Beaver, Kevin M. The promises and pitfalls of forensic evidence in unsolved crimes. doi: 10.1111/j.1745-9133.2010.00636.x

    4. Cohen, Nadine. “Newton, Michael. The Encyclopedia of Unsolved Crimes.(Brief article)(Book review)”. Library Journal, Feb 1, 2010, Vol.135(2), p.93(1)

    Reply

    1. I’m having trouble with mass of useless information in the internet.
      I may change the movie because there’s too many information that delays the research

      Reply

  7. 1.1. Pacific Rim (Movie)
    Director by Guillermo del Toro. pacific rim.IMDb.October,2013(USA)
    https://www.imdb.com/title/tt1663662/

    2.Pacific Rim: Pacific rim uprising needed more Guillermo del toro
    Angela Watercutter,culture,03.22.18.
    https://www.wired.com/story/pacific-rim-uprising-review

    3.Social and Cultural Issues in the Pacific Rim:The Case of
    International Migration and a Look at Multicultural
    Planning in Greater Vancouver, British Columbia.
    David W. Edgington** P3-14.
    https://gsis.korea.ac.kr/wp-content/uploads/2015/04/8-01-David.pdf

    4. The Mythic Magnificence of “Pacific Rim”.
    Aline Dolinh, 03,13.2018
    https://filmschoolrejects.com/mythic-magnificence-pacific-rim/

    Reply

  8. Spirited Away. Dir. Hayao Miyazaki, Kirk Wise. Perf. Rumi Hiira, Miyu Irino, Mari Natsuki. Studio Ghibli, 2002. Film.

    1. Murphey, Rhoads and Ellen. “The Japanese Experience With Pollution and Controls.” Environmental Review: ER, Vol. 8, No. 3, August 1984, pp. 284-294.

    2. Napier, Susan J. “Matter Out of Place: Carnival, Containment, and Cultural Recovery in Miyazaki’s Spirit Away.” The Journal of Japanese Studies, Vol.32, No. 2, Summer 2006, pp. 287-310.

    3. Reider, Noriko T. “Spirited Away: Film of the Fantastic and Evolving Japanese Folk Symbols.” Film Criticism. Spring 2005, Vol. 29, Issue 3, p4-27. 24p.

    4. “Spirited Away (2001).” IMDb, IMDb.com, http://www.imdb.com/title/tt0245429/?ref_=tt_urv.

    Reply

  9. 1 Movie :Avatar, marketed as James Cameron’s Avatar, is a 2009 American epic science fiction film directed, written, produced, and co-edited by James Cameron.

    2 Avatar, Identification, Pornography By Frow, JohnIs : Part Of Cultural Studies Review, Dec 2012, Vol.18(3), pp.360-38

    3 Avatar : Stereoscopic Cinema, Gaseous Perception and Darkness. Brown, William :Is Part Of
    Animation, 2012, Vol.7(3), pp.259-271

    4 Avatar face recognition and self-presence
    Seo, Youngnam ; Kim, Minkyung ; Jung, Younbo ; Lee, Doohwang
    Computers in Human Behavior, April 2017, Vol.69, pp.120-127

    5 King of the (Blue) World.(Arts; Movies)(James Cameron’s “Avatar”)
    Keegan, Rebecca
    Time, Dec 14, 2009, Vol.174(23), p.79

    Reply

  10. 1.’Alien vs. Predator’ Tops Box Office, Could Fuel Trend.
    MARR, M. ‘Alien vs. Predator’ Tops Box Office, Could Fuel Trend. Wall Street Journal – Eastern Edition. B3, Aug. 16, 2004.

    2.Predators vs. alien: differential biotic resistance to an invasive species by two resident predators.
    MACNEIL, C; et al. Predators vs. alien: differential biotic resistance to an invasive species by two resident predators. NeoBiota. 19, 1-19, Oct. 2013. ISSN: 16190033.

    Autoimmunity vs. cancer: Predator vs. alien?
    BERENS, C; LAUBER, K; HERRMANN, M. Autoimmunity vs. cancer: Predator vs. alien?. Autoimmunity. 46, 5, 287-293, Aug. 2013. ISSN: 08916934.
    3.Importance of Nest Predation by Alien Rodents and Avian Poxvirus in Conservation of Oahu Elepaio.
    Vanderwerf E. Importance of Nest Predation by Alien Rodents and Avian Poxvirus in Conservation of Oahu Elepaio. Journal Of Wildlife Management [serial online]. July 2009;73(5):737-746. Available from: Academic Search Complete, Ipswich, MA. Accessed April 19, 2018.

    4.”Alien vs. Predator.” VideoHound’s Golden Movie Retriever, edited by Jim Craddock, 2011 ed., Gale, 2011, p. 62. Gale Virtual Reference Library, http://link.galegroup.com/apps/doc/CX2562400478/GVRL?u=cuny_queens&sid=GVRL&xid=dd5baa15. Accessed 19 Apr. 2018.

    Reply

  11. The passion of the christ
    Mel. gibson
    Starring jim cavisol
    Independant film

    https://www.imdb.com/

    Jesus and Mel Gibson’s The Passion of the Christ: The Film, the Gospels and …
    edited by Kathleen E. Corley, Robert L. Webb
    Print academic paper

    Who killed Jesus?: Exposing the roots of anti-Semitism in the gospel story of the death of Jesus
    John Dominic Crossan
    HarperSanFrancisco, 1995

    They Killed Our Lord: The Perception of Jews as Desecrators of Christianity as a Predictor of Anti‐Semitism
    Kenneth I Pargament, Kelly Trevino, Annette Mahoney, Israela Silberman
    Journal for the Scientific Study of Religion 46 (2), 143-158, 2007

    Reply

  13. Movies: Ex Machina

    Sources
    1. Alex Garland “Ex Machina.” Ex Machina (2015) – Rotten Tomatoes, 17 Apr. 2018,

    https://www.rottentomatoes.com/m/ex_machina

    2.argument source:
    Parker, Laura. “Human After All: Ex Machina’s Novel Take on Artificial Intelligence.” The Atlantic, Atlantic Media Company, 15 Apr. 2015,

    http://www.theatlantic.com/entertainment/archive/2015/04/ex-machina-and-the-virtues-of-humanizing-artificial-intelligence/390279/.

    3.argument source:
    Robbins, Martin. “Artificial Intelligence: Gods, Egos and Ex Machina.” The Guardian, Guardian News and Media, 26 Jan. 2016,

    https://www.theguardian.com/science/the-lay-scientist/2016/jan/26/artificial-intelligence-gods-egos-and-ex-machina

    4.theoretical source
    Andreson, Robert. “Theory Ex Machina:A Deep Dive into the Themes of ‘Ex Machina.’” Story Screen, James Thomas, 01, Sept 2016,

    http://www.storyscreenbeacon.com/single-post/2016/09/01/Theory-Ex-MachinaA-Deep-Dive-into-the-Themes-of-Ex-Machina

    Reply

  14. Movie: Resident Evil: Apocalypse. Directed by Alexander Witt and written by Paul W. S. Anderson, Starring: Milla Jovovich, Sienna Guillory, Oded Fehr, 2004
    https://en.wikipedia.org/wiki/Resident_Evil:_Apocalypse
    Sources：
    1. Wilson, Laura, “Race, the Other and Resident Evil”, Ethnicity, and Race in a Changing World, 2012, Vol.3(2), pp.31-35
    2. Jones, Nick “This is my world: spatial representation in the Resident Evil films”, Continuum, 03 July 2016, Vol.30(4), p.477-488
    3. Gurr, Barbara Anne, “Race, gender, and sexuality in post-apocalyptic TV and film”, Publisher
    Houndmills, Basingstoke, Hampshire ; New York, NY : Palgrave Macmillan, 2015
    4.Niedenthal, Simon ; Perron, “Bernard, Patterns of Obscurity: Gothic Setting and Light in Resident Evil 4 and Silent Hill 2”, Horror Video Games: Essays on the Fusion of Fear and Play, pp.168-180, 2009

    Reply

  15. 1.D’Alessandro, Anthony. “Thanksgiving B.O. At $268M, +3% Over 2016 Spurred By ‘Coco’ & Holdovers – Sunday Update”. “DEADLINE HOLLYWOOD”. Anthony D’Alessandro, November 26, 2017. http://deadline.com/2017/11/coco-justice-league-wonder-thanksgiving-box-office-1202213755/
    2. Edmonds, Molly. “How Dying Works” 12 January 2009.
    HowStuffWorks.com. 19 April 2018
    Loughrey, Clarisse. “Coco will challenge the way you look at death”. “INDEPENDENT”. “Independent Digital News and Media”, 17 January 2018.
    4. UGWU, REGGIE. “How Pixar Made Sure ‘Coco’ Was Culturally Conscious.” “The New York Time”, November 19, 2017. https://www.nytimes.com/2017/11/19/movies/coco-pixar-politics.html.

    Reply

Leave a Reply

Your email address will not be published. Required fields are marked *