how long is a thesis film

Press ESC to close

Crafting a Powerful Thesis Statement for a Movie Review: Examples and Tips

• backlinkworks
• Writing Articles & Reviews
• October 28, 2023

Introduction

writing a movie review can be an exciting task, but IT requires careful consideration and thought. One of the most important elements of a movie review is the thesis statement, as IT sets the tone and direction for the entire review. In this article, we will explore the process of crafting a powerful thesis statement for a movie review, providing you with helpful examples and tips along the way.

What is a Thesis Statement in a Movie Review?

A thesis statement in a movie review presents the main argument or opinion that you will be discussing and supporting throughout your review. IT typically appears near the end of your introduction and should be clear, concise, and thought-provoking. The thesis statement should provide an overall evaluation or interpretation of the movie, highlighting the key aspects you will be focusing on in your review.

Examples of Powerful Thesis Statements

Let’s now explore some examples of powerful thesis statements to give you a better understanding of how to structure your own. Remember, these examples are not meant to be copied directly but rather to serve as inspiration for crafting your unique thesis statement:

• Example 1: The movie “Inception” explores the convoluted depths of the human mind, challenging our perception of reality and leaving audiences questioning the nature of dreams.
• Example 2: Through its stunning cinematography and emotional storytelling, “The Shawshank Redemption” showcases the resilience of the human spirit and the power of hope in the face of adversity.
• Example 3: In “Black Swan,” the director delves into the dark and obsessive world of ballet, blurring the lines between sanity and insanity, leading to a mesmerizing and haunting cinematic experience.

Tips for Crafting a Powerful Thesis Statement

Now that you’ve seen some examples, let’s dive into some tips to help you craft a powerful thesis statement for your movie review:

• Identify the central theme: Analyze the movie and identify the central theme or message being conveyed. This will serve as the basis for your thesis statement.
• Be specific: Make your thesis statement clear and specific, avoiding vague language or generalizations. This will make your argument more compelling and focused.
• Consider the audience: Think about the intended audience of your review and tailor your thesis statement to resonate with them. Different audiences may have varying expectations or interests.
• Support with evidence: Your thesis statement should be supported by evidence from the movie. Incorporate specific scenes, dialogues, or character developments to strengthen your argument.
• Stay objective: While expressing your personal opinion is essential, ensure that your thesis statement remains objective and balanced. Avoid overly biased language that may detract from the credibility of your review.

Crafting a powerful thesis statement for a movie review is crucial in setting the tone and direction for your review. IT should provide a clear evaluation or interpretation of the movie, supported by evidence and examples. By following the tips outlined in this article and considering the provided examples, you can create a compelling thesis statement that engages your readers and enhances the overall quality of your movie review.

1. Can I include my personal opinion in the thesis statement?

Yes, you can include your personal opinion in the thesis statement, but ensure that IT remains objective and supported by evidence from the movie.

2. Should I mention the title of the movie in my thesis statement?

While IT is not mandatory, IT is recommended to include the title of the movie in your thesis statement to provide clarity and context.

3. How long should my thesis statement be?

A thesis statement should be concise and to the point. Aim for a sentence or two that effectively conveys your main argument.

4. Can I change my thesis statement after writing the review?

Yes, IT is possible to make adjustments to your thesis statement if you feel IT needs refinement or modification based on your analysis and review process.

Unlock the Secrets of Computer Science: A Beginner’s Guide to the World of Programming for Dummies

Finding the ideal solution: free web hosting for wordpress bloggers.

Recent Posts

• Driving Organic Growth: How a Digital SEO Agency Can Drive Traffic to Your Website
• Mastering Local SEO for Web Agencies: Reaching Your Target Market
• The Ultimate Guide to Unlocking Powerful Backlinks for Your Website
• SEO vs. Paid Advertising: Finding the Right Balance for Your Web Marketing Strategy
• Discover the Secret Weapon for Local SEO Success: Local Link Building Services

Popular Posts

Shocking Secret Revealed: How Article PHP ID Can Transform Your Website!

Unlocking the Secrets to Boosting Your Alexa Rank, Google Pagerank, and Domain Age – See How You Can Dominate the Web!

Uncovering the Top Secret Tricks for Mastering SPIP PHP – You Won’t Believe What You’re Missing Out On!

The Ultimate Collection of Free Themes for Google Sites

Discover the Shocking Truth About Your Website’s Ranking – You Won’t Believe What This Checker Reveals!

Explore topics.

• Backlinks (2,425)
• Blog (2,744)
• Computers (5,318)
• Digital Marketing (7,741)
• Internet (6,340)
• Website (4,705)
• Wordpress (4,705)
• Writing Articles & Reviews (4,208)

Surviving Your Animation Thesis: A Post-Mortem of My Own Short Film

David Oneacre

Something I realized shortly after completing my thesis is that I never found any resources, guides, or other students’ experience when creating their thesis films.

Spending your senior year crafting a short film is a universal experience shared by animation students worldwide — yet when I started work on my film in May 2018, I had no idea what I was in for, or what to expect. A year of your life working on one project that lasts only a few minutes…where do you start, what should you watch out for, how do you organize everything?

For that reason, I wanted to offer my own experience, advice, mistakes, and everything in-between so that other students feel less afraid to tackle their films this coming September and beyond. If you have not already watched my film, I recommend doing so before reading this article.

Maplewood is a 3DCG film created solely by me as a student at the Massachusetts College of Art and Design. Although a lot of these thoughts and strategies will apply to any animator, some of the technical talk will only really apply to 3DCG films. And you may also be part of a team for your film, where some parts of the film you don’t have to worry about.

That said, I believe most of this article will be useful to any animator, as just hearing someone else’s experience can shed some light on creating a thesis as a whole. But all parts are labelled, and there are plenty of notes for 2D and stop motion animators out there.

Also, most films usually go through three stages: Pre-Production, Production, and Post-Production.

• Pre-Production: Developing ideas, setting limits, designing/creating/rigging characters, and storyboarding. (Summer and first semester senior year, so May to December 2018.)
• Production: Animating. Creating final art and backgrounds after designing them in pre-production. Sound effects and music. (Second semester senior year, so January to April 2019.)
• Post-Production: Editing, compositing, effects, color correction, checking for mistakes, releasing your film and marketing it/submitting to film festivals. (I edited my film throughout the production stage.)

I’ve also split this article up into those stages, but I should note that I spent far more time in pre-production than I did in production and post-production, which is normal for stop motion and 3D animators. 2D animators should spend much more time in production , with maybe only one or two months in pre-production.

With that, I hope you enjoy.

Pre-Production

May to December 2018

Background (and Burnout Advice)

In May 2018, I completed my first 2D animated short film, Baby no Diaper .

I didn’t really enjoy making it even if I’m proud of how it turned out. Storyboarding and animating the rough stage of the film was fun, but I really hated clean-up, coloring, lineart, and so on, which also took the longest.

This was my first thought I had about my thesis: “There’s no way I’m spending a whole year doing this.”

So, I didn’t. Obviously, that doesn’t mean your thesis shouldn’t be 2D. What I mean is, if there are stages in your film you don’t enjoy much, you should consider designing your film to avoid them or mitigate them as much as possible. (This avoids burnout!)

In the same vein, design your film so that it emphasizes parts of the process you enjoy. My teacher and mentor, Tammy Dudman, described a thesis film as akin to a “business card” for employers, in that it represents everything you’re good at. If you really love backgrounds and environments, maybe that could be the focus on your film. Your love for those parts will show! And it gives your film an obvious, immediate purpose for existing aside from being created to graduate.

If you’re in your senior year, you should already be intimately familiar with that parts of the animation process you’re not a fan of, and the parts you’d probably spend your entire career doing.

If you’re not familiar with what part of the animation process you enjoy, consider spending part of your film’s development figuring out what you enjoy and trying things out . Maybe you could complete a short clip or spend some time on new processes you haven’t yet tried. This is exactly what I spent my last summer doing.

For me, I wanted to explore the idea of creating a 3D short film, but I had almost no experience in rigging. (The process of getting a 3D model ready for animation.) It’s a very hidden part of 3D film development, but extremely important and unskippable — no animation happens until your characters are rigged.

I figured I would spend the summer learning some advanced rigging and seeing how it goes — if I didn’t like it, then I’ll design my film so it’s less important.

I loved it!

Maplewood ended up cementing my love for 3D, and in particular rigging. There’s something about the problem solving and technical mumbo jumbo that scratches my brain in ways 2D animation never did. I ended up rigging for several months straight without any burnout, and actually ended up somewhat disappointed when it came time to animate.

However, if you’re doing work for your thesis over the summer, you should work on something that doesn’t require critique . I was primarily learning how to rig over the summer, and this was a time-consuming, technical part of the process best done early.

But storyboarding, animatics or character designs you should not finalize in the summer. It’s okay to start developing these ideas early, but you shouldn’t be too attached to anything you create that hasn’t been properly shown to others and critiqued.

Although I started modelling and rigging my characters early, the characters I was using had come from an earlier assignment I did in 2017, and had been critiqued by other students and teachers.

At the time, I figured that using characters that were already developed and critiqued would give a good jumping off point for rigging and development. It’s a super simple design too, which suggested a simple story: a lumberjack bear living alone in the woods.

“Keep your idea simple” is some of the most important advice I can give to anyone starting their thesis soon. You don’t have to keep it as sickeningly simple as funny cartoon animals, but I recommend resisting the temptation of telling the story you’ve been dying to tell.

I did have another idea before I settled on Maplewood ’s characters: a more abstract, dream-like film that follows a single character named Luna floating through landscapes that represent her fears and anxiety.

She’s from a bigger story that I do want to tell someday, but even then, I set limits for my thesis and used nothing from that story but her design.

There will come a time for finally showing the world your favorite characters and your expansive world building, but the majority of your thesis isn’t spent on that. It’s spent on the technical parts, the process of making it. Therefore, your film should be based on that first, with the actual idea and story second.

As you develop your idea, I seriously recommend browsing student short films, as it sets realistic goals and can give you a sense of what’s possible in a thesis film. My primary inspiration came from the short film Allisk8r by Anna Prado , one of my favorite short films, regardless of it being a student’s thesis.

I didn’t think it was realistic to create a thesis film that mixes 2D and 3D beforehand, as I thought it was primarily the work of smart technical tricks. But after Allisk8r, I realized a lot of what makes a 3D film look 2D is a matter of art and design rather than technical specifics, and it instantly felt possible to take my own 2D animation background and apply it to a 3D film.

It’s also short, sweet and simple : two dinosaurs in a feud. It’s entirely driven by its expressions and characters, and tells its story with no dialogue. No lip-syncing needed, no exposition. Your idea doesn’t have to be as simple, but it definitely gives you a lot more time to focus on whats important.

You shouldn’t be afraid to message the creators of short student films you love either — I messaged the creator of Allisk8r about a technical aspect of the film, and they responded with the same excitement over 2D/3D mixes in CG films. If the short film was created in the past few years, chances are the student is happy to talk about their own work. And in an odd twist, eventually Ringling students starting their own 3D thesis also messaged me, and I happily shared my own process. Just be respectful and patient.

Once you have an idea, keep developing it. Don’t ever settle on the “eh” — don’t ever settle on the “good enough.” Keep revising and developing the idea until you’re jumping out of your bed in the morning ready to work on it. If you’re not enjoying what you’re working on, you won’t do yourself, or your film, any favors. Ask questions, take critiques, keep developing until you’re excited.

This is also a good time to start visualizing how you want the final film to look. Don’t stress over finalizing the look just yet — much of that will come later. At this point, you just want a basic idea of how it might look in the end. Even if you’re worried about technical challenges or don’t have a clue how to achieve a certain “look”, ignore that for now and draw it.

If you’re not much of an artist, as some 3D filmmakers are, that’s okay: gather inspiration together that conveys the visuals you want for your film on a site like Pinterest, Tumblr, etc.. Get it in one place and put it together. You can more easily narrow down how you want your film to look when you’re looking at one big swathe of inspiration. I did a small Pinterest early in the film’s development over the summer.

If you plan on doing any compositing or effects as well, now would be a good time to give those a try. For example, if you wanted your film to have a vintage VHS look, you’ll want to try out some ways of how to get that effect. You want to be familiar with what that process is like so you can be prepared for any hangups caused by effects and editing.

Having the characters and some visuals in mind, I started developing my story in September, and began work on the animatic.

Developing The Story

To me, a lot of idea and story development is looking at the idea you already have, taking it apart, and putting it back together. What do you find appealing about the idea? Why is it that way?

My initial idea for the story was incredibly simple: Maple keeps appearing out of nowhere and won’t leave the bear alone. She’d appear when the bear opens the cupboard, when he has his back turned, and so on. Some of this appears in the final film during the first minute.

But eventually this didn’t feel like enough — I wanted to tell a deeper story than that, with a clear three act structure. I took apart the elements of the story I already had and tried to find reason and logic to them, and started asking myself questions about the story…

Why does a bear live in a cabin in the woods?

The answer to this lead me to the film’s second act: all the animals in this forest have a home and a daily routine. Dead simple, it’s funny animals — but it immediately lead to the idea of a tiny grandma squirrel with her home inside a tree, and a fish living in the river with half his house submerged.

This also created a new role for Maple — she’s now the weird outsider in this world, and the focus of the story shifted to finding out who she is and why she’s here. From here, I started storyboarding, and found another important lesson: Your story is not perfect. It doesn’t matter how good at storyboarding you are, how long you’ve been writing the story, nothing matters until it’s critiqued.

Critique is your best friend at this stage. Many of the specifics came as I storyboarded and presented my work for critique from other students. You should always, always listen to critiques, and polish your story to the point that nobody is asking any questions.

Your story should completely and utterly speak for itself. If you find students are confused or concerned about specifics in your storyboards, by God, listen to them. You don’t have to follow their suggestion, just try and figure out why they are asking that specific question. Don’t ignore them, especially early on.

One of my biggest breakthroughs in the story actually came from Ru Kuwahata, co-director of Negative Space , who was a guest at our school reviewing student thesis films. Originally, the relationship between Maple and her father was more complex, with Maple running away from a hunting trip with her dad. The Hunter was not introduced at all until 3 minutes in, and the posters had Maple on it instead.

But this created confusion with some students, and I instantly knew something had to be done when Ru was confused about the story and pointed out a critical flaw. She had a few suggestions on how to fix it, but she was clear about why she was confused rather than emphasizing her own suggestion. (And putting the hunter on the posters instead of Maple was all her.)

There was also an earlier version of the story where the hunter was attacked in the end by the animals that Maple and the bear had met along the way. Another student and friend, Jack Seber-Merolla (watch his film!) made a suggestion that completely rocked my core: there should be some kind of “understanding” between the father and Maple. Again, it’s not the how, but the why that is important.

Storyboarding Tips

While your thesis storyboard is mostly created for your own use, you’ll be showing it to fellow students and teachers, and possibly even employers as part of your portfolio. Your critique will waste valuable time if you’re spending it explaining the storyboards. Here are some quick tips everyone working on their storyboards should know:

• Animatics aren’t comics

Comic panels are moments frozen in time, while animatics move forward in time normally. Any movement or action is done entirely differently in each medium. Think in terms of actual time instead of moments in time.

Avoid certain visual language that makes more sense in comics too, like text or exclamation points. Remember that the final product is animation, and you should be showing your animation in a simpler form.

2. Camera is king

Here’s the order I usually follow when drawing a storyboard:

• Composition
• Everything Else

Cameras can key the audience into character motivations and scene emotions, by location, angle and composition. Consider the camera like it was its own character. Also, as a bonus, audiences feel really rewarded when they know what’s happening before its explained, which is usually caused by the camera giving them their own perspective into how to feel.

3. Keep the audience’s eye in mind

Your audience’s eyes move around instead of taking in the entire image at once. Keep in mind what the audience should be focusing on in a shot, then focus your composition towards that with lines, movement and details all focusing in on what’s important. If something happens that distracts the eye from the focus, it might pull your audience away from something important!

4. Draw fast but take breaks

Draw fast. Draw faster!

You can convey a lot of emotion, energy, and atmosphere in simple, fast drawings. And you should never get attached to your storyboards either, as they can and should be thrown out the next day in critique.

But take breaks. If you can’t get a drawing out the way you want, get away from the screen for a bit and come back later. Any time I was having trouble with a storyboard, it came out way faster right after a break than if I tried to force it out from a dozen failed drawings.

Maplewood’s Animatic

Above is the full animatic for Maplewood, dated November 2018, with some early music by my composer Jason Fujita, and placeholder free music by Kevin Macleod. There are a lot of differences to the final film, but most of the changes were made in the production stage where I didn’t feel the need to change the storyboards.

One thing to note about my animatic is that at this point I knew my film was a mix of 2D and 3D, and therefore I limited my camera to mostly side views. In your animatics, I recommend you use the camera more to your advantage.

Bringing the Characters to Life

In 3D animation and stop motion, a “puppet” of each character needs to be made before any animation happens. The puppet should have everything you (or your animator) need to fully convey the personality of the character — how they move, talk, walk, and so on. In hand-drawn 2D animation, you don’t need any puppet, but you should still consider everything here while animating your character.

So before going any further, we should stop and take a moment to analyze exactly what our character needs and how to achieve it. Look past the design for a moment and think about how that character would actually move. You could ask yourself a million questions, but all of them lead back into one simple question: how do I convey their personality?

Maple is young, curious, and hyperactive. The main aspects of her design are her long coat, long hair, loopy noodle arms and legs, and large eyes, with her hat brim acting as her eyebrows.

When creating the puppet for Maple, these were the most important aspects to keep in mind, and the puppet should keep these features as faithful to the drawings and concepts as possible. Everything else is secondary.

Any “tests” or “studies” that can narrow down specific aspects of your characters are good tests. How they lift a heavy object, how they look angry, sad, etc., how they walk and run. The more you do, the better. One famous test that comes to mind is all the characters in Big Hero 6 sitting down, seen below. This is well after the puppets are completed, but there are a lot of specifics in how they enter the room, take the chair, and finally sit down, that show off their individual personalities:

Your character was also not made in the vacuum of space — it’s inspired by other characters you enjoy in media. Take a second to analyze the inspirations that make your character and the kinds of personalities they have. Maple in particular was especially inspired by Goo from Foster’s Home for Imaginary Friends , and somewhat by Dee Dee from Dexter’s Lab. Both have that hyperactive personality (although a bit extreme), but also the way they move is similar to how I wanted Maple to move.

Even the hunter’s character design was directly inspired by a minor character that appears in just one chapter of the webcomic Gunnerkrigg Court . I really enjoyed how his beard drapes over his shoulders, and it was something several people commented on as a memorable feature in the hunter’s design.

From here, determine how you make those characters a reality and start planning. Much of Maplewood’s development was learning some of the advanced rigging necessary for what Maple and the bear’s puppets needed. I don’t feel the need to get into the technical details, but this video below briefly goes over many of the specifics:

By the end of December, I had two rigs mostly completed with all the features I felt I needed. They still needed color and textures, but I could animate and move them around. Moving into the Production stage , I began strategizing the best way to organize files, manage my time, set expectations and ultimately how to complete the film over the next few months.

January to April 2018

File Organization and Pipeline

Maplewood had a ton of files to keep track of, from models, to textures, character rigs, backgrounds, scenes, renders, and so on. Keeping everything organized was the only reason I was able to finish my film on time. This goes beyond just keeping files in specific folders. You really don’t want to be in the final weeks and not able to find a specific file.

What you need is a “pipeline,” that is, a process for starting and finishing every scene until the film is complete. This will totally depend on the kind of film you’re making, and may not even matter to stop motion animators, but just try and think about how you will create each scene from start to finish. Here’s my own development pipeline:

After completing the animatic, I added a timecode at the bottom and red scene codes in the bottom right.

The timecode is exactly as it looks like, and is mostly for syncing the sound and music with my composer, but having a timecode onscreen also helps you sync your own animation to your animatic. The number to the far right of the timecode is the frame count of that second, so the above screenshot is the 23rd frame of the 46th second in my film. Since animatics are mostly still images, this lets you keep track of which specific frame your timing is on.

The number to the right is a scene code , and was entirely for file management purposes. “A” means “Act,” and the number following is which act the film is in. “S” means “Scene” or “Shot” and the number following that is which shot the film is on. So the above screen shot could be called “Act 1, Shot 5.”

The most important use of these scene codes was I would name my files after them. It was extremely easy to keep track of which scenes were what files, both in my head and on paper, and when you eventually edit and put your film together, your files are named in order.

There’s a balance in how long each scene file lasts , though. I usually had a new scene code for a major camera shift, like a new angle that would require a new background. But this ended up being a bad idea for some scenes, especially if you need continuity between two shots. For example, the campfire scene (3:32–4:07) had five unique scene codes. But there was a lot of continuity between each shot, with the campfire being a central focus of the shot, and both characters sitting down with their marshmallow on a stick. I ended up having one file with the characters sitting around the campfire, and saved five unique scene codes from that.

Production started by creating these scene code files for every scene in the film, starting with a “base scene” that had everything I needed for each file. In particular, this “base scene” contained:

• Three windows or “views” that contained 1.) my animatic, 2.) a locked camera used as the final “look” of the shot, and 3.) a free roaming view to manipulate my rig’s controls from any angle.
• Both of my main character rigs, referenced in
• A directional light, the main type of light used in the entire film.

From there, I would save the file and name it the same as the scene code of the shot I’m working on, and then start working. In 3D animation, each file started in the layout stage, where the animation looks absolutely goofy:

This stage is just about getting the timing of each action, the basic poses, and some background placeholders. Within Maya, I would sync my animatic to the current scene code, and then copy the timing and poses from the animatic into 3D. After a month of work I eventually had the entire film in this state.

If you are doing a 3D or stop motion film, don’t jump straight to animation. Get your film in this stage first — in stop motion, I recommend remaking your animatic with your puppets, even if you’re using the wire armature or stand-ins. You need to test the limits of your puppets in the 3D space compared to your 2D drawings. There are lots of surprises you’d never realize.

As an example, I had a scene where the bear lifts his axe to chop wood, only to find it disappeared off-screen as he lowers his arms. But I soon found that my puppet couldn’t reach his arms that high…how do I tell this joke in the 3D world? Instead, I had the axe disappear behind his head as he raises it — problem solved.

With a file for every shot in the film, I could then put together the whole film in this stage, and I don’t have to worry about syncing or timing any shots when I start animating. Below you can watch the first three minutes of the film in this layout stage, created in February to March 2019. Some of the timing is off, but the basic layouts were there and eventually synced in the final film.

Upon completing a scene, I would render it as a sequence of PNG images and put it in a folder named after the scene code, then render the PNG sequence again as a video file. It’s important to have a full quality, uncompressed render of every frame after completing it, rather then holding onto compressed video files. Finally, I would replace the layout scene with the completed scene in my video editor.

In addition to this pipeline, I kept a folder for each major component of my film, with sub folders for each smaller part. The Models folder, for example, had a folder for the bear, Maple, and the hunter, with all of their rigs, models, and textures inside each. I had a folder specifically for the animal characters in Act 2 called “2DCharacters”, as they required some special care to create.

Since the render that came out of Maya was the final look of the film, there was no extra step in this pipeline. But I recommend you experiment with additional effects, editing, and compositing. For example, a friend of mine, Jhonatan Lechar, has a really cool style for his upcoming film, where he renders the character separately on a 2D drawn background, and puts them together afterwards. (Give him a follow!)

One last file management tip: if you are working on a Windows computer, I highly recommend the program “Everything” , which lets you quickly search for any file on your computer much faster than Windows’ default search. I use it probably more than any other program on my computer, even File Explorer.

Speaking of everything…

Backup Everything

A wise man once said “There are two types of hard drives. Dead hard drives, and dying hard drives.” That wise man was my department’s studio manager, Adam Savje, who has probably seen many fallen hard drives in his time in the department. Working at my college’s tech center as well, you wouldn’t believe the amount of students I’ve seen that kept everything on one crappy external hard drive that would break if you coughed on it.

Back everything up.

I really can’t emphasize this enough. You need to back up all your data. If you’ve done any work on your thesis already, you should back it up right now. And you should back it up in multiple ways, not just automatically. Here are all the backups I did:

• Maya’s automatic backups: Every ten minutes Maya would save what I’m working on as a new iterative backup. I can’t count the amount of work that was saved by loading a backup from just a few minutes ago.
• Google Drive backup: Specific folders on my computer are automatically backed up to my Google Drive account, my thesis folder being one of them. This also includes Maya’s automatic backups.
• Physical backup: I have an internal, desktop hard drive in an external enclosure , used only for taking backups. These require a power source, but last much longer than external hard drives. I backed all my work up to this every month. An external solid state drive is also not a bad idea, as the lack of moving parts prevents damage.

Again, BACK EVERYTHING UP. PLEASE.

Sound and Music

Sound is by far the most important component of your film, even more than animation. Bad sound is distracting, or worse, annoying — good sound lets your audience enjoy your animation and hard work without worrying about anything else. Do your sound early! Don’t leave it until the end!

Whether you have music or not is up to you, but it certainly helps. For Maplewood’s music and sound, I teamed up with the great Jason Fujita, who worked with me on my previous short film, Baby no Diaper. He did an amazing job and my film wouldn’t be the same without it.

If you are collaborating with someone else for your music and sound, set deadlines for both yourself and your composer. Give them expectations. Tell them you expect to have a cut of the film by the weekend, and deliver that. Ask if they can deliver some rough sound by next week. Jason was fantastic at delivering on deadlines, despite working on several other great films at the same time. (Like Steve Ly’s Cock Fight and Erica Machida’s Musubi .) He later redid my sound design for the final release of the film in May too.

Time Management

This is easily the biggest worry for most students starting their thesis soon. How do you manage your time? What limits do you set? What do you sacrifice to complete the film?

While I’m incredibly proud of how my film turned out in the end, it falls short in some areas, particularly animation. I spent a little too much time rigging and experimenting, and decided to sacrifice some of my animation to polish the visuals. Actually animating the film only took a month!

I made this decision after evaluating the strengths of what I had already made , and building upon that. People responded really well to how the main characters looked, and I decided to focus my time on visual development over the animation.

But I could have managed my time a bit better and set more deadlines for myself. I probably spent less time on animation and more time experimenting on features for Maple’s rig that never saw the light of day, which is a shame.

Something I did that helped manage expectations and time is a big “laundry list.” (This strategy is thanks to the awesome Steve Subotnick , my teacher for Baby no Diaper .) I wrote down every single little thing needed for every shot in the film — every thing I needed to model, draw, etc. for every shot in the film. Be sure to include sound effects as well if you are doing your own sound.

This forces you to evaluate everything needed, almost like a shopping list, and mitigates any surprises that might happen. I tried to picture the scene playing out in my head and write down what the characters are holding or interacting with, and make any notes of anything I might need to add. For the scene with the business fish (A2S7, above), I specifically noted that the car door has to open, and the chassis should rock back and forth as the fish enters — not something I would have considered otherwise.

I did my task list within Google Docs, but other animators and fellow students I’ve seen create spreadsheets with percentages, bullet journals, sticky notes on a big board in front of them, all sorts of ways. Anything that gets you to sit down and evaluate your film inside and out.

Although I crossed stuff off my list as I went along, I eventually didn’t really need to as I got closer to the deadline. It’s just the act of writing it all down that gets it in your head — once that’s done, don’t worry too much about keeping track of it when you’re crunching.

You can take a look at the full document by clicking here.

Final Visual Development

I didn’t quite know how to create Maplewood ’s look until I started experimenting and trying different things. Being my first 3D short film, I was definitely concerned I would run into some technical problems with Maya, or that I would be limited on some of the visuals.

However, it ended up being much simpler than I expected it to be, and I didn’t really run into anything serious. Because my 3D skills are mostly self taught, I wasn’t really familiar with more advanced 3D rendering, so I mostly used my 2D art abilities as a place to start. It’s really the old saying of “write what you know,” except for art. Don’t be afraid to try things out.

I was also limiting myself to visuals that render in real-time — that is, the final look of the film is what I would see as I was animating it, rather than a simplified version that needs to be rendered once complete. This saved a lot of time as most 3D films take some time to render, and my college does not have a render farm like Ringling; if I had gone a more traditional 3D route, I would have to complete my film several weeks early just to render it.

The best visual style for your thesis is something you can do fast, but still looks unique. Try and experiment with your visuals and push it in directions you don’t expect, and don’t settle on your traditional methods. If you come up with something that looks great but takes a while, simplify it. Mess with it until you can do it fast.

Maplewood reuses a lot of art assets throughout the whole film, particularly trees. I drew 6 trees and made pretty much all the backgrounds with them. They were great filler, and I was able to twist them around to create unique compositions. I also reused these trees for Act 3, which is set at night, and adjusted the palette to be darker blue and purple. Palettes and limiting your colors is probably one of the most important ways to give your film an identity, so I recommend starting there if you’re trying to give your thesis a unique identity.

Crunch (The Final Weeks)

Imagine I’m sitting backwards on a wooden chair, like I’m talking to you about the birds and the bees.

Don’t crunch.

Okay, maybe crunch a little. Crunch within your means . If I’m deeply interested in a project, I tend to work 24/7 on it, so I don’t personally mind crunch.

And in the final weeks of your film you will probably end up crunching to get it done — if you feel you can take it, it’s fine. Listen to your mind and body and make the right call about what you can finish in time.

But don’t stay up all night. I only pulled one all nighter in Maplewood’s development, and that was to finish it the night of the deadline on April 30th.

No matter what you do, you’re not cool for staying up all night to finish something. It’s unproductive, unhealthy, and dumb. If you stayed up all night to finish something, your work was probably worse and completed slower than if you just worked on it with a good night’s rest.

Post-Production

May 2019 and Beyond

Editing and Quality Checks

There is not a whole lot to be said that hasn’t been said already. Be sure to keep your file specifications the same throughout — stick to 30fps or 24fps, 1080p, etc. Try to keep your film uncompressed until the final cut, and hold onto the uncompressed files.

I edited my film together using Adobe Premiere — however, I could have easily also put it together using the free Davinci Resolve , as there’s nothing in particular I did that can only be done in Premiere, and the interface is nearly the same.

Most of the film was edited as I went along, replacing the animatic with the layouts as they were completed, and replacing the layouts with the final renders when those were completed. You will probably end up doing this too if you are collaborating with other students, composers, or showing your work for critique.

As you edit it along and render your film out to show others, keep those files and mark them with the current date. It’s good to keep track of how much progress you’re making so you can evaluate when you’ll complete each stage of your film.

You should also watch your film, or finished clips, with friends and students. If anyone points out any mistakes, fix them. That means they’re obvious and distracting. But don’t sweat small mistakes that only appear for a couple frames, or if they’re outside of the focus of the shot. It may be time better spent polishing and improving your film in other areas.

By the way, this is the point where you’d do any visual effects you need for your film — I didn’t need any myself for Maplewood.

Promotion and Marketing

When your film is done, nothing will matter if nobody can see it. You should get the word out, set a release date, and promote it. Give your audience an expectation of when they can see it.

Most of Maplewood’s marketing and exposure actually came mid-development as I posted updates and short clips. People really like to see behind the scenes work — a number of things I posted from Maplewood attracted thousands of likes and retweets.

You should post what you’re comfortable with though — if you feel you don’t want to clue your audience in some of your methods, you don’t have to. In fact, making your audience wonder how you achieved a certain effect can be tantalizing.

Submitting to Film Festivals

You should always submit your work to any film festivals you can — you will probably hear this a lot as a student, and there’s not much to say that hasn’t already been said. Check out this excellent article on submitting your work , containing pretty much the exact same advice every teacher I’ve had has given me for the past three years.

I will say that I put my thesis film up online earlier than most students would , and some students feel that they should let their films run in film festivals before putting it up online. This is up to you. I’ve only had one festival deny my work because it was online already, but I felt I was already receiving the attention I wanted by putting it online early anyways.

I’ve submitted to about 30–35 festivals, all of which are still making their selections. I don’t expect to receive any responses by late July, August at the earliest.

From what I know, many Sheridan and CalArts students also put their thesis films online almost immediately after graduating. One of my teachers, Steve Subotnick, has also mentioned he puts his work online immediately, and has no trouble getting his work into festivals. The decision is yours.

The Post-Graduation Crisis

It’s summer. But I’m not returning to college in September.

Aside from the impending doom of “get a job,” these past couple months after finishing my film have definitely been some of the strangest. I’ve received far more attention that I ever have for my work, but I’m still figuring out how I can expand upon that. I loved making Maplewood , but it’s left me confused on exactly what I want to do as a career.

I’m sure I’m not alone in this post-graduation crisis, so let’s think about this together, stream of consciousness style. You got this far in the article, after all.

My main takeaway from Maplewood is that I loooove 3D. I went literal months straight just burning away the day working on my character rigs. If I can do that for the rest of my life and get paid for it? I’m set.

I started Maplewood with only a curiosity about 3D. I was pretty sure something would go horribly wrong and I’d learn not to bother with making a 3D thesis film. “Oh well, maybe I’ll try it after I graduate!” Now I want to do it for the rest of my life. Never be afraid to try new things.

I also started noticing lots of little things in 3D films. If you’ve ever done 3D animation, you should try watching Toy Story again. I probably watched clips of it a dozen times this past year. It’s a total mixed bag of animators who had no idea how to make 3D animation look good, and totally natural, brilliant animation. But once you start picking up on all the little things in films, you can start avoiding and improving on those in your own film.

Yet, because it’s my first 3D film, I’m left with Maplewood as practically the only major 3D work in my portfolio, aside from small projects. There’s a crushing feeling somewhere inside me that I should backtrack and do more 3D exercises, as though I was back in college doing assignments. But I also need to find work, and I don’t really have time to do those assignments.

I’ve felt at a crossroads for the past few months on three career paths I want to pursue: 3D Animation, Rigging or Art Direction . But there’s no clear winner.

If I pursue art direction, I feel like I can stand out and my work is unique. Maplewood received most of its attention from its art direction. But it’s not quite as “safe” or “employable” as the other career paths. However, in the middle of Maplewood’s development, I did receive an offer for visual development for an animated series based on a popular children’s toy. The deal fell through, (I was extremely close to signing an NDA and doing an art test when they decided to move on) but it shows there’s some “market value” in my art direction.

I really love rigging — as I mentioned earlier, I was almost disappointed to finish my rigs and move on to animation. But at the moment I’m really a beginner, and I still have a long ways to go. I have a few mutuals who are excellent at rigging and are in college specifically for technical direction. I also feel the need to learn more coding.

Finally, I love 3D animation and I started creating a 3D film specifically for the animation, only to love most of the other process. While I feel I could be a solid, natural animator and make a career in it, I don’t know how much I would stand out, and I need a lot more in my portfolio for it to work.

I’ve also noticed there’s serious competition in the 3D animation world from AnimSchool and Animator Mentor students, who have massive, high quality portfolios completely focused on animation. Spiderverse ’s animation team was an army of excellent online school grads who were mentored by animators who worked at Pixar, Dreamworks, etc..

Maybe I’m overthinking it! Maybe it’s cathartic to hear someone else going through this crisis, or maybe its scary. Maybe you can figure it out earlier than me and get a headstart from these thoughts. I just want to be transparent, open, and real with anyone about this part of the game. You’ll finish your film, graduate, and wonder what’s next.

But I’m sure I’ll figure it out soon and look back on this section thinking “Why did I write all of that?” Maybe I’ll come back and make an edit.

Closing Statements

While all of this is my own advice and thoughts that may not apply to everyone reading, I hope just hearing someone else’s thoughts after they’ve been put through the ringer makes it all just a little less scary.

If you have anything you would like to add, questions, corrections, concerns, please email me at [email protected].

I’d also like to thank any friends and fellow students who graduated alongside me. I’m nothing without those who critiqued my work and helped me along the way, and many of the advice and thoughts in this article only exist because of them. The same goes for my teachers, colleagues, and those I met and made friends with along the way.

Thanks for reading!

davidoneacre.com

Written by David Oneacre

Text to speech

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

48 Film Analysis

Film analysis, what this handout is about.

This handout provides a brief definition of film analysis compared to literary analysis, provides an introduction to common types of film analysis, and offers strategies and resources for approaching assignments.

What is film analysis, and how does it differ from literary analysis?

Film analysis is the process in which film is analyzed in terms of semiotics, narrative structure, cultural context, and mise-en-scene, among other approaches. If these terms are new to you, don’t worry—they’ll be explained in the next section.

Analyzing film, like  analyzing literature (fiction texts, etc.) , is a form of rhetorical analysis—critically analyzing and evaluating discourse, including words, phrases, and images. Having a clear argument and supporting evidence is every bit as critical to film analysis as to other forms of academic writing.

Unlike literature, film incorporates audiovisual elements and therefore introduces a new dimension to analysis. Ultimately, however, analysis of film is not too different. Think of all the things that make up a scene in a film: the actors, the lighting, the angles, the colors. All of these things may be absent in literature, but they are deliberate choices on the part of the director, producer, or screenwriter—as are the words chosen by the author of a work of literature. Furthermore, literature and film incorporate similar elements. They both have plots, characters, dialogue, settings, symbolism, and, just as the elements of literature can be analyzed for their intent and effect, these elements can be analyzed the same way in film.

Different types of film analysis

Listed here are common approaches to film analysis, but this is by no means an exhaustive list, and you may have discussed other approaches in class. As with any other assignment, make sure you understand your professor’s expectations. This guide is best used to understand prompts or, in the case of more open-ended assignments, consider the different ways to analyze film.

Keep in mind that any of the elements of film can be analyzed, oftentimes in tandem. A single film analysis essay may simultaneously include all of the following approaches and more. As Jacques Aumont and Michel Marie propose in Analysis of Film, there is no correct, universal way to write film analysis.

Semiotic analysis

Semiotic analysis is the analysis of meaning behind signs and symbols, typically involving metaphors, analogies, and symbolism.

This doesn’t necessarily need to be something dramatic; think about how you extrapolate information from the smallest signs in your day to day life. For instance, what characteristics can tell you about someone’s personality? Something as simple as someone’s appearance can reveal information about them. Mismatched shoes and bedhead might be a sign of carelessness (or something crazy happened that morning!), while an immaculate dress shirt and tie would suggest that the person is prim and proper. Continuing in that vein:

• What might you be able to infer about characters from small hints?
• How are these hints (signs) used to construct characters? How do they relate to the relative role of those characters, or the relationships between multiple characters?

Symbols denote concepts (liberty, peace, etc.) and feelings (hate, love, etc.) that they often have nothing to do with. They are used liberally in both literature and film, and finding them uses a similar process. Ask yourself:

• In Frozen Elsa’s gloves appear in multiple scenes.
• Her gloves are first given to her by her father to restrain her magic. She continues to wear them throughout the coronation scene, before finally, in the Let It Go sequence, she throws them away.

Again, the method of semiotic analysis in film is similar to that of literature. Think about the deeper meaning behind objects or actions.

• Elsa’s gloves represent fear of her magic and, by extension, herself. Though she attempts to contain her magic by hiding her hands within gloves and denying part of her identity, she eventually abandons the gloves in a quest for self-acceptance.

Narrative structure analysis

Narrative structure analysis is the analysis of the story elements, including plot structure, character motivations, and theme. Like the dramatic structure of literature (exposition, rising action, climax, falling action, resolution), film has what is known as the Three-Act Structure: “Act One: Setup, Act Two: Confrontation, and Act Three: Resolution.” Narrative structure analysis breaks the story of the film into these three elements and might consider questions like:

• How does the story follow or deviate from typical structures?
• What is the effect of following or deviating from this structure?
• What is the theme of the film, and how is that theme constructed?

Consider again the example of Frozen. You can use symbolism and narrative structure in conjunction by placing the symbolic objects/events in the context of the narrative structure. For instance, the first appearance of the gloves is in Act One, while their abandoning takes place in Act Two; thus, the story progresses in such a way that demonstrates Elsa’s personal growth. By the time of Act Three, the Resolution, her aversion to touch (a product of fearing her own magic) is gone, reflecting a theme of self-acceptance.

Contextual analysis

Contextual analysis is analysis of the film as part of a broader context. Think about the culture, time, and place of the film’s creation. What might the film say about the culture that created it? What were/are the social and political concerns of the time period? Or, like researching the author of a novel, you might consider the director, producer, and other people vital to the making of the film. What is the place of this film in the director’s career? Does it align with his usual style of directing, or does it move in a new direction? Other examples of contextual approaches might be analyzing the film in terms of a civil rights or feminist movement.

For example, Frozen is often linked to the LGBTQ social movement. You might agree or disagree with this interpretation, and, using evidence from the film, support your argument.

Some other questions to consider:

• How does the meaning of the film change when seen outside of its culture?
• What characteristics distinguishes the film as being of its particular culture?

Mise-en-scene analysis

Mise-en-scene analysis is analysis of the arrangement of compositional elements in film—essentially, the analysis of audiovisual elements that most distinctly separate film analysis from literary analysis. Remember that the important part of a mise-en-scene analysis is not just identifying the elements of a scene, but explaining the significance behind them.

• What effects are created in a scene, and what is their purpose?
• How does the film attempt to achieve its goal by the way it looks, and does it succeed?

Audiovisual elements that can be analyzed include (but are not limited to): props and costumes, setting, lighting, camera angles, frames, special effects, choreography, music, color values, depth, placement of characters, etc. Mise-en-scene is typically the most foreign part of writing film analysis because the other components discussed are common to literary analysis, while mise-en-scene deals with elements unique to film. Using specific film terminology bolsters credibility, but you should also consider your audience. If your essay is meant to be accessible to non-specialist readers, explain what terms mean. The Resources section of this handout has links to sites that describe mise-en-scene elements in detail.

Rewatching the film and creating screen captures (still images) of certain scenes can help with detailed analysis of colors, positioning of actors, placement of objects, etc. Listening to the soundtrack can also be helpful, especially when placed in the context of particular scenes.

Some example questions:

• How is the lighting used to construct mood? Does the mood shift at any point during the film, and how is that shift in mood created?
• What does the setting say about certain characters? How are props used to reveal aspects of their personality?
• What songs were used, and why were they chosen? Are there any messages in the lyrics that pertain to the theme?

Writing the film analysis essay

Writing film analysis is similar to writing literary analysis or any argumentative essay in other disciplines: Consider the assignment and prompts, formulate a thesis (see the  Brainstorming Handout  and  Thesis Statement Handout  for help crafting a nuanced argument), compile evidence to prove your thesis, and lay out your argument in the essay. Your evidence may be different from what you are used to. Whereas in the English essay you use textual evidence and quotes, in a film analysis essay, you might also include audiovisual elements to bolster your argument.

When describing a sequence in a film, use the present tense, like you would write in the literary present when describing events of a novel, i.e. not “Elsa took off her gloves,” but “Elsa takes off her gloves.” When quoting dialogue from a film, if between multiple characters, use block quotes: Start the quotation on a new line, with the entire quote indented one inch from the left margin. However, conventions are flexible, so ask your professor if you are unsure. It may also help to follow the formatting of the script, if you can find it. For example:

ELSA: But she won’t remember I have powers? KING: It’s for the best.

You do not need to use quotation marks for blocked-off dialogue, but for shorter quotations in the main text, quotation marks should be double quotes (“…”).

Here are some tips for approaching film analysis:

• Make sure you understand the prompt and what you are being asked to do. Focus your argument by choosing a specific issue to assess.
• Review your materials. Rewatch the film for nuances that you may have missed in the first viewing. With your thesis in mind, take notes as you watch. Finding a screenplay of the movie may be helpful, but keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).
• Develop a thesis and an outline, organizing your evidence so that it supports your argument. Remember that this is ultimately an assignment—make sure that your thesis answers what the prompt asks, and check with your professor if you are unsure.
• Move beyond only describing the audiovisual elements of the film by considering the significance of your evidence. Demonstrate understanding of not just what film elements are, but why and to what effect they are being used. For more help on using your evidence effectively, see ‘Using Evidence In An Argument’ in the  Evidence Handout .

New York Film Academy Glossary Movie Outline Glossary Movie Script Database Citation Practices: Film and Television

Works Consulted

We consulted these works while writing the original version of this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find the latest publications on this topic. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the  UNC Libraries citation tutorial .

Aumont, Jacques, and Michel Marie. L’analyse Des Films. Paris: Nathan, 1988. Print. Pruter, Robin Franson. “Writing About Film.” Writing About Film. DePaul University, 08 Mar. 2004. Web. 01 May 2016.

Film Analysis Copyright © 2020 by Liza Long; Amy Minervini; and Joel Gladd is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License , except where otherwise noted.

Share This Book

Film Analysis

What this handout is about.

This handout introduces film analysis and and offers strategies and resources for approaching film analysis assignments.

Writing the film analysis essay

Writing a film analysis requires you to consider the composition of the film—the individual parts and choices made that come together to create the finished piece. Film analysis goes beyond the analysis of the film as literature to include camera angles, lighting, set design, sound elements, costume choices, editing, etc. in making an argument. The first step to analyzing the film is to watch it with a plan.

Watching the film

First it’s important to watch the film carefully with a critical eye. Consider why you’ve been assigned to watch a film and write an analysis. How does this activity fit into the course? Why have you been assigned this particular film? What are you looking for in connection to the course content? Let’s practice with this clip from Alfred Hitchcock’s Vertigo (1958). Here are some tips on how to watch the clip critically, just as you would an entire film:

• Give the clip your undivided attention at least once. Pay close attention to details and make observations that might start leading to bigger questions.
• Watch the clip a second time. For this viewing, you will want to focus specifically on those elements of film analysis that your class has focused on, so review your course notes. For example, from whose perspective is this clip shot? What choices help convey that perspective? What is the overall tone, theme, or effect of this clip?
• Take notes while you watch for the second time. Notes will help you keep track of what you noticed and when, if you include timestamps in your notes. Timestamps are vital for citing scenes from a film!

For more information on watching a film, check out the Learning Center’s handout on watching film analytically . For more resources on researching film, including glossaries of film terms, see UNC Library’s research guide on film & cinema .

Brainstorming ideas

Once you’ve watched the film twice, it’s time to brainstorm some ideas based on your notes. Brainstorming is a major step that helps develop and explore ideas. As you brainstorm, you may want to cluster your ideas around central topics or themes that emerge as you review your notes. Did you ask several questions about color? Were you curious about repeated images? Perhaps these are directions you can pursue.

If you’re writing an argumentative essay, you can use the connections that you develop while brainstorming to draft a thesis statement . Consider the assignment and prompt when formulating a thesis, as well as what kind of evidence you will present to support your claims. Your evidence could be dialogue, sound edits, cinematography decisions, etc. Much of how you make these decisions will depend on the type of film analysis you are conducting, an important decision covered in the next section.

After brainstorming, you can draft an outline of your film analysis using the same strategies that you would for other writing assignments. Here are a few more tips to keep in mind as you prepare for this stage of the assignment:

• Make sure you understand the prompt and what you are being asked to do. Remember that this is ultimately an assignment, so your thesis should answer what the prompt asks. Check with your professor if you are unsure.
• In most cases, the director’s name is used to talk about the film as a whole, for instance, “Alfred Hitchcock’s Vertigo .” However, some writers may want to include the names of other persons who helped to create the film, including the actors, the cinematographer, and the sound editor, among others.
• When describing a sequence in a film, use the literary present. An example could be, “In Vertigo , Hitchcock employs techniques of observation to dramatize the act of detection.”
• Finding a screenplay/script of the movie may be helpful and save you time when compiling citations. But keep in mind that there may be differences between the screenplay and the actual product (and these differences might be a topic of discussion!).
• Go beyond describing basic film elements by articulating the significance of these elements in support of your particular position. For example, you may have an interpretation of the striking color green in Vertigo , but you would only mention this if it was relevant to your argument. For more help on using evidence effectively, see the section on “using evidence” in our evidence handout .

Also be sure to avoid confusing the terms shot, scene, and sequence. Remember, a shot ends every time the camera cuts; a scene can be composed of several related shots; and a sequence is a set of related scenes.

Different types of film analysis

As you consider your notes, outline, and general thesis about a film, the majority of your assignment will depend on what type of film analysis you are conducting. This section explores some of the different types of film analyses you may have been assigned to write.

Semiotic analysis

Semiotic analysis is the interpretation of signs and symbols, typically involving metaphors and analogies to both inanimate objects and characters within a film. Because symbols have several meanings, writers often need to determine what a particular symbol means in the film and in a broader cultural or historical context.

For instance, a writer could explore the symbolism of the flowers in Vertigo by connecting the images of them falling apart to the vulnerability of the heroine.

Here are a few other questions to consider for this type of analysis:

• What objects or images are repeated throughout the film?
• How does the director associate a character with small signs, such as certain colors, clothing, food, or language use?
• How does a symbol or object relate to other symbols and objects, that is, what is the relationship between the film’s signs?

Many films are rich with symbolism, and it can be easy to get lost in the details. Remember to bring a semiotic analysis back around to answering the question “So what?” in your thesis.

Narrative analysis

Narrative analysis is an examination of the story elements, including narrative structure, character, and plot. This type of analysis considers the entirety of the film and the story it seeks to tell.

For example, you could take the same object from the previous example—the flowers—which meant one thing in a semiotic analysis, and ask instead about their narrative role. That is, you might analyze how Hitchcock introduces the flowers at the beginning of the film in order to return to them later to draw out the completion of the heroine’s character arc.

To create this type of analysis, you could consider questions like:

• How does the film correspond to the Three-Act Structure: Act One: Setup; Act Two: Confrontation; and Act Three: Resolution?
• What is the plot of the film? How does this plot differ from the narrative, that is, how the story is told? For example, are events presented out of order and to what effect?
• Does the plot revolve around one character? Does the plot revolve around multiple characters? How do these characters develop across the film?

When writing a narrative analysis, take care not to spend too time on summarizing at the expense of your argument. See our handout on summarizing for more tips on making summary serve analysis.

Cultural/historical analysis

One of the most common types of analysis is the examination of a film’s relationship to its broader cultural, historical, or theoretical contexts. Whether films intentionally comment on their context or not, they are always a product of the culture or period in which they were created. By placing the film in a particular context, this type of analysis asks how the film models, challenges, or subverts different types of relations, whether historical, social, or even theoretical.

For example, the clip from Vertigo depicts a man observing a woman without her knowing it. You could examine how this aspect of the film addresses a midcentury social concern about observation, such as the sexual policing of women, or a political one, such as Cold War-era McCarthyism.

A few of the many questions you could ask in this vein include:

• How does the film comment on, reinforce, or even critique social and political issues at the time it was released, including questions of race, ethnicity, gender, and sexuality?
• How might a biographical understanding of the film’s creators and their historical moment affect the way you view the film?
• How might a specific film theory, such as Queer Theory, Structuralist Theory, or Marxist Film Theory, provide a language or set of terms for articulating the attributes of the film?

Take advantage of class resources to explore possible approaches to cultural/historical film analyses, and find out whether you will be expected to do additional research into the film’s context.

Mise-en-scène analysis

A mise-en-scène analysis attends to how the filmmakers have arranged compositional elements in a film and specifically within a scene or even a single shot. This type of analysis organizes the individual elements of a scene to explore how they come together to produce meaning. You may focus on anything that adds meaning to the formal effect produced by a given scene, including: blocking, lighting, design, color, costume, as well as how these attributes work in conjunction with decisions related to sound, cinematography, and editing. For example, in the clip from Vertigo , a mise-en-scène analysis might ask how numerous elements, from lighting to camera angles, work together to present the viewer with the perspective of Jimmy Stewart’s character.

To conduct this type of analysis, you could ask:

• What effects are created in a scene, and what is their purpose?
• How does this scene represent the theme of the movie?
• How does a scene work to express a broader point to the film’s plot?

This detailed approach to analyzing the formal elements of film can help you come up with concrete evidence for more general film analysis assignments.

Reviewing your draft

Once you have a draft, it’s helpful to get feedback on what you’ve written to see if your analysis holds together and you’ve conveyed your point. You may not necessarily need to find someone who has seen the film! Ask a writing coach, roommate, or family member to read over your draft and share key takeaways from what you have written so far.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Aumont, Jacques, and Michel Marie. 1988. L’analyse Des Films . Paris: Nathan.

Media & Design Center. n.d. “Film and Cinema Research.” UNC University Libraries. Last updated February 10, 2021. https://guides.lib.unc.edu/filmresearch .

Oxford Royale Academy. n.d. “7 Ways to Watch Film.” Oxford Royale Academy. Accessed April 2021. https://www.oxford-royale.com/articles/7-ways-watch-films-critically/ .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

Make a Gift

• Screenwriting \e607
• Cinematography & Cameras \e605
• Directing \e606
• Editing & Post-Production \e602
• Documentary \e603
• Movies & TV \e60a
• Producing \e608
• Distribution & Marketing \e604
• Fundraising & Crowdfunding \e60f
• Festivals & Events \e611
• Sound & Music \e601
• Games & Transmedia \e60e
• Grants, Contests, & Awards \e60d
• Film School \e610
• Marketplace & Deals \e60b
• Off Topic \e609
• This Site \e600

7 Painful Lessons Learned While Making My Thesis Film

There's no better classroom than being on set..

It was my last semester in film school but our professors had been preparing us for almost a year for the biggest project we had to make so far. I had written the script for my thesis film almost a year and a half before that time. It was stored away in the depths of my desktop for a while and I pulled it out for our thesis screenwriting class. The 13-minute movie  The Funniest Person Ever  is about a struggling stand up comedian who makes a wish to be...you guessed it...the funniest person ever. Her wish is granted but she soon finds out it's not all its cracked up to be.

The thought “Damn, this is going to be hard but exciting to make“ came about in that same screenwriting class. So that’s where my first piece of advice comes in. I hope you can learn from my lessons below to make your thesis film dreams come true.

 Hearing your own script read aloud by others will shatter the tunnel vision.

1. Don't be afraid of rewrites

All screenwriters know about rewrites. Doing it is dreadful but it helped me weed out the flaws in my script. At a certain point, I was actually excited to do another rewrite in the hopes of making my script better. I never rewrote the entire script from scratch. I just pulled out scenes and replaced them with more empathetic ones. Then, one of my professors brought up table reads. The first round was with my fellow filmmakers. I received great feedback, and did yet another rewrite. Next up was another table read but with actual actors. So I brought in my comedy friends and I was in awe of how well it sounded with a few flaws here and there in the screenplay. Hearing your own script read aloud by others will shatter the tunnel vision, and open your eyes and mind to new possible directions for your script.

2. Record your table reads

My professor introduced the great idea of recording our table reads to me. The table read can come home with you for further analysis if you record it using video or a voice note feature on your smartphone. I only did this once but it did help for another round of rewriting.

3. Reverse the roles

One of my early struggles in the pre-production of my thesis film was casting. My lead role was a male comedian. My lead actor was lacking interest in the project so I reached out to another person I was acquainted with, a young and hilarious lady known on Instagram as Dee Nasty . I was able to get her phone number from my previous lead actor, so I pitched her the idea and she agreed to play the lead role. The male lead was now a female. Best decision I made simply because her skills as a comedienne and actress are amazing and, quite frankly, she made my film funnier. Little did I know that my new lead would bring me issues later in production. (Dramatic music plays)

4. How to get extras and clone them

I needed about 30 extras for my film. The comedy club scenes were going to be the hardest scenes to film. I had to make one location look like four, with a large number of actors in the room. I figured the best way to get more people was to ask people who were already interested in me or my project. I asked the extras to bring friends interested in acting. I asked friends who like acting to come be an extra themselves. I also posted an ad on casting websites. Despite all my outreach, only about 10 extras showed up, which was 20 less than my desired goal. Problematic. I resolved this by making the same person look like multiple people.  I asked my actors to bring an extra piece of clothing, hat, hoodie or jacket and I had them wear the hat or hoodie and grabbed shots from behind. They looked like a whole new group of people.

5. Adapt to the situation

The greatest tool I learned as a filmmaker is to adapt, quickly. Luckily the program director of my film school at City College had invited a filmmaker a few days before shooting who brought up that exact same piece of advice. A man who has made more than five feature films, well-funded, huge cast, big names; he told us “when you're on set and a few pieces of your puzzle are missing, you make it work no matter what, adapt.”

I had a small group of extras, I had one comedy club, and the support of my cousin and friends. I adapted and made it happen. I had promised lunch to all the actors during the comedy club scenes, but I was running out of time. So we pushed through and I gave everyone a $10 stipend. At that point, I was glad 30 people didn't show up.

 I was forced to shoot scenes weeks apart.

6. Use pictures to maintain continuity

My lead actress's career was taking off. I was forced to shoot scenes weeks apart. At one point, there was a month of inactivity during my production phase. I was running out of time and I had to make this film to graduate. I made it, but where I slacked off was on continuity. This is not recommended. Don’t laugh when I say this, but it was the hair. Dee’s hair was always straight in the movie which made it easier, but the differences were the placing of the bun and ponytail, a few strands of hair, and some jewelry. In one shot, her ponytail is higher up with no necklace; in the next it's lower and she’s wearing a necklace. Small details count. Take pictures and write down key aspects of the wardrobe and hair.

7. Use your crew

I love the process and I love the challenge of filmmaking, but I learned the hard way not to be a one-person army. I felt like the weight of world was on my shoulders. I needed an assistant director, a production assistant, and a script supervisor. My friend John and my cousin Erick took on some of these roles on set when they were available. But I learned that I needed more people on the crew side. My instinct was that, the less crew you have, the easier it is to have a grasp of everything. Erick made me aware that I can’t wear all those hats. I don’t even like hats, but you know what I mean. Build a tribe, so that you can film the movie.

What was the best lesson you learned making your thesis film? Let us know in the comments.

Follow Romel Rodriguez on  instagram   @Romelcreates

Watch the First 10 Minutes of 'Furiosa' For Free

Fandango dropped the opening scene of furiosa in honor of its vod release..

When it comes to the apocalyptic Wasteland of George Miller's Mad Max universe, everything can feel transactional. Bullets, gasoline, basic essentials of human survival? Traditional currency might be a thing of the past, but you still gotta pay somehow.

Lucky for us we still live in a (mostly) civilized society, and sometimes we get some cool freebies. While a bit more of a tease than a true altruistic gift, Fandango graciously released the first 10 minutes of Furiosa in honor of its VOD release. No bartering required.

Is this ultimately a marketing move to get you hooked to watch more? Absolutely! But, hey, it's still fun to have a little chunk of such a wonderful movie at arms length for zero dollars. Plus, with a movie this cool, I'm all about Fandango pushing to get a larger audience hooked on the Furiosa supply.

Whether you've already seen it, or need a little more convincing to check it out, here are the first 10 minutes below. Enjoy!

Insta360 Takes Their Biggest Swing Yet at GoPro

Can you tell a pro from an amateur writer by just reading the first page, uh-oh: dji drone ban bill passes through house of representatives, how they shot that sexy slo mo in 'challengers', turn your smartphone into an ai-powered micro-four-thirds camera, is this the greatest chase scene of all time, the making of a dream factory, sigma unveils first lens for canon rf mount with its new 18-50mm f2.8 dc dn, how this costume designer updated jedi robes for 'the acolyte', canon rumored to announce new r1 and r5 mark ii cameras next month.

Join Waitlist

Film Analysis

Crafting a Winning Thesis Statement in Film Analysis: A Step-by-Step Guide

Dec 6, 2023

Avinash Prabhakaran

Film analysis is a captivating and insightful way to explore the world of cinema. Whether you're a film student, a cinephile, or just someone who enjoys dissecting movies, you'll find that forming a solid thesis statement is the cornerstone of a successful film analysis. 

A thesis statement serves as the roadmap for your analysis, guiding your reader through your interpretation of the film's elements and themes. 

In this blog post, we'll outline the steps to help you craft an effective thesis statement for your film analysis.

Understand the Film's Context

Before diving into your analysis, it's crucial to understand the film's context. This includes the director's background, the film's era, its genre, and any cultural or historical factors that may have influenced its production. Gathering this context will help you form a more informed thesis statement.

Watch the Film Multiple Times

You must thoroughly watch the film multiple times to craft a thoughtful thesis statement. Each viewing will reveal new details and nuances that you may have missed initially. Take notes during your viewings to record your observations and ideas.

Identify Key Themes and Elements

During your viewings, pay close attention to the film's themes, characters, plot, cinematography, sound, and other elements. Think about what the director is trying to convey and how they use these elements. Make a list of the most prominent themes and elements you observe.

Formulate a Research Question

Based on your observations and analysis, formulate a research question you want to answer in your essay. This question should be open-ended and should invite critical thinking. For example, "How does the use of color symbolism in 'The Shawshank Redemption' reflect the theme of hope?

Brainstorm and Organize Ideas

Now, brainstorm your ideas related to the research question. Think about the evidence you've gathered and how it supports your interpretation of the film. Organize these ideas into a logical structure that will guide your analysis.

Craft a Thesis Statement

A thesis statement should be concise, clear, and arguable. It should encapsulate the main argument of your analysis and give the reader a clear sense of what to expect in your essay. Here are some tips for crafting a solid thesis statement:

Make it specific:  Avoid vague or overly broad statements. Be precise in what you're arguing.

Make it debatable:  Your thesis should invite discussion and disagreement. Avoid stating the obvious.

Make it relevant:  Ensure that your thesis directly addresses the research question and the film's themes or elements.

Example Thesis Statement:

"In Christopher Nolan's 'Inception,' the use of dreams as a narrative device serves to blur the line between reality and perception, challenging conventional notions of truth and subjectivity."

Examples to Support the Thesis:

Dreams as a Narrative Device

Throughout 'Inception,' the characters enter various dream levels, each with its own set of rules and physics. Nolan uses this complex narrative structure to keep the audience engaged and constantly questioning what is real.

The manipulation of time within dreams adds another layer of complexity to the narrative. Time moves differently at each dream level, leading to intricate storytelling that challenges traditional linear storytelling.

Blurring Reality and Perception

The film consistently blurs the boundaries between dreams and reality, making it difficult for the characters and the audience to distinguish between them. This intentional ambiguity creates a sense of unease and intrigue.

The use of the spinning top as a totem to determine reality in the film's closing scene encapsulates the theme of perception versus reality. The spinning top symbolizes the characters' struggle to discern the truth.

Challenging Conventional Notions of Truth and Subjectivity

'Inception' invites viewers to question their understanding of reality and truth. The film challenges the idea of an objective reality by presenting multiple layers of dreams and subjective experiences.

The film's enigmatic ending, which leaves the spinning top's fate unresolved, forces viewers to confront their subjectivity and interpretation of the story's conclusion.

By examining these specific examples, it becomes evident how using dreams as a narrative device in 'Inception' blurs the line between reality and perception, ultimately challenging conventional notions of truth and subjectivity as proposed in the thesis statement. 

This exemplifies the importance of using concrete evidence from the film to validate your interpretation as outlined in your thesis statement.

Forming a thesis statement in film analysis is vital in creating a compelling and well-structured essay. 

By understanding the film's context, closely examining its elements, and crafting a clear and arguable thesis statement, you'll be well on your way to conducting a thorough and insightful analysis that will engage your readers and deepen your understanding of cinema. Happy analyzing!

Recommended articles

Unraveling the Secrets of "The Prestige": A Cinematic Analysis

Nov 3, 2023

Exploring the Mind-Bending Reality of "Being John Malkovich"

Nov 24, 2023

The Writing Place

Resources – how to write a film analysis, introduction to the topic.

While most people watch films for entertainment, those who study film focus on the elements of a film that combine to create the ultimate product. Behind the scenes production editing that occurs before, during, and after filming contribute to the images that people see on screen. A formal analysis of a film asks you to break a film down into its different components and discuss how those pieces work together to create an overall experience. Here is a checklist to help you write a film analysis.

Sections of a Film Analysis with Tips

The introduction to the paper.

Begin by  briefly  summarizing the film. You should not rehash the entire plot, but instead give the most critical information about the film to the reader. Then, introduce the formal elements that you will be discussing. Finally, your thesis should connect the elements you will discuss to their importance to the film as a whole.

The Body Paragraphs

The body paragraphs of a film analysis are similar to those found in other analytical essays.  Each paragraph should discuss a different small component of the film and how the component serves the entire film. In these paragraphs, you should give concrete examples to support your claims. These examples can include scenes or quotes from the film itself, but you can also include different editing techniques or other behind the scenes work. Connect your examples to the overall film and try to answer the question, “Why does this element ultimately matter for the viewing audience?”

The Conclusion

Briefly summarize what you have talked about in the essay. Be careful not to make generalizations about the film that are not supported by the effects of the specific elements you discussed. In this section, you can discuss the overall importance of the film its historical context or address any lingering questions the film leaves.

Tips for Film Analysis

• Understand the vocabulary of filmmaking. Knowing how to talk about elements such as lighting, special effects, framing, focus, and screenwriting are critical to writing a film analysis.
• Try to watch the film more than one, if possible. After you decide which element(s) to write about, watch the film again, keeping those ideas in mind.
• A film analysis is not the same of a film review. Avoid making pedestrian judgments about the film’s entertainment factor. If you wish to criticize the film, do so by referencing formal elements.
• Unless the assignment asks you, do not try to cover every single element the film uses. Try to narrow your focus as much as you can to one or two salient elements.
• If you are referring to the actions of a person in the film, refer to the scene using the character’s name. If you are referring the acting itself, use the actor’s real name.

Exercise: Which Sentence Belongs in a Film Analysis?

Sentences and instructions.

When writing a film analysis, many students have to fight the urge to incorporate the components of a film review into their essays. In each of the following exercises, one sentence could be a part of a film analysis, while the other is better suited for a review.

See if you can tell the difference:

1.      (a.) In  Winter’s Bone , Jennifer Lawrence gives the performance of the decade. (b.) For her role in  Winter’s Bone , Jennifer Lawrence had to learn a West Virginia accent in order to portray an authentic character.

2.   (a.) The editors of  Hocus Pocus  use special effects to create magic on screen. (b.) The editors of  Hocus Pocus  used a green screen to give the appearance that the witches were flying over the city.

 3.    (a.) The lack of shadows in  V for Vendetta  gives the viewer the impression that the editors forgot to add in some special effects. (b.) The lack of shadows in  V for Vendetta  gives the viewer the impression that the scenes are occurring in a futuristic world.

Developed by Ann Bruton, with the help of Alexander Waldman

Adapted F rom:

Dartmouth Writing Program’s “Writing About Film” 

Duke University’s Thompson Writing Program “Writing About Film”  

Click here to return to the “Writing Place Resources” main page.

Have a language expert improve your writing

Run a free plagiarism check in 10 minutes, generate accurate citations for free.

• Knowledge Base
• How to Write a Thesis Statement | 4 Steps & Examples

How to Write a Thesis Statement | 4 Steps & Examples

Published on January 11, 2019 by Shona McCombes . Revised on August 15, 2023 by Eoghan Ryan.

A thesis statement is a sentence that sums up the central point of your paper or essay . It usually comes near the end of your introduction .

Your thesis will look a bit different depending on the type of essay you’re writing. But the thesis statement should always clearly state the main idea you want to get across. Everything else in your essay should relate back to this idea.

You can write your thesis statement by following four simple steps:

• Start with a question
• Write your initial answer
• Develop your answer
• Refine your thesis statement

Instantly correct all language mistakes in your text

Upload your document to correct all your mistakes in minutes

Table of contents

What is a thesis statement, placement of the thesis statement, step 1: start with a question, step 2: write your initial answer, step 3: develop your answer, step 4: refine your thesis statement, types of thesis statements, other interesting articles, frequently asked questions about thesis statements.

A thesis statement summarizes the central points of your essay. It is a signpost telling the reader what the essay will argue and why.

The best thesis statements are:

• Concise: A good thesis statement is short and sweet—don’t use more words than necessary. State your point clearly and directly in one or two sentences.
• Contentious: Your thesis shouldn’t be a simple statement of fact that everyone already knows. A good thesis statement is a claim that requires further evidence or analysis to back it up.
• Coherent: Everything mentioned in your thesis statement must be supported and explained in the rest of your paper.

Prevent plagiarism. Run a free check.

The thesis statement generally appears at the end of your essay introduction or research paper introduction .

The spread of the internet has had a world-changing effect, not least on the world of education. The use of the internet in academic contexts and among young people more generally is hotly debated. For many who did not grow up with this technology, its effects seem alarming and potentially harmful. This concern, while understandable, is misguided. The negatives of internet use are outweighed by its many benefits for education: the internet facilitates easier access to information, exposure to different perspectives, and a flexible learning environment for both students and teachers.

You should come up with an initial thesis, sometimes called a working thesis , early in the writing process . As soon as you’ve decided on your essay topic , you need to work out what you want to say about it—a clear thesis will give your essay direction and structure.

You might already have a question in your assignment, but if not, try to come up with your own. What would you like to find out or decide about your topic?

For example, you might ask:

After some initial research, you can formulate a tentative answer to this question. At this stage it can be simple, and it should guide the research process and writing process .

Here's why students love Scribbr's proofreading services

Discover proofreading & editing

Now you need to consider why this is your answer and how you will convince your reader to agree with you. As you read more about your topic and begin writing, your answer should get more detailed.

In your essay about the internet and education, the thesis states your position and sketches out the key arguments you’ll use to support it.

The negatives of internet use are outweighed by its many benefits for education because it facilitates easier access to information.

In your essay about braille, the thesis statement summarizes the key historical development that you’ll explain.

The invention of braille in the 19th century transformed the lives of blind people, allowing them to participate more actively in public life.

A strong thesis statement should tell the reader:

• Why you hold this position
• What they’ll learn from your essay
• The key points of your argument or narrative

The final thesis statement doesn’t just state your position, but summarizes your overall argument or the entire topic you’re going to explain. To strengthen a weak thesis statement, it can help to consider the broader context of your topic.

These examples are more specific and show that you’ll explore your topic in depth.

Your thesis statement should match the goals of your essay, which vary depending on the type of essay you’re writing:

• In an argumentative essay , your thesis statement should take a strong position. Your aim in the essay is to convince your reader of this thesis based on evidence and logical reasoning.
• In an expository essay , you’ll aim to explain the facts of a topic or process. Your thesis statement doesn’t have to include a strong opinion in this case, but it should clearly state the central point you want to make, and mention the key elements you’ll explain.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

College essays

• Choosing Essay Topic
• Write a College Essay
• Write a Diversity Essay
• College Essay Format & Structure
• Comparing and Contrasting in an Essay

 (AI) Tools

• Grammar Checker
• Paraphrasing Tool
• Text Summarizer
• AI Detector
• Plagiarism Checker
• Citation Generator

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

Follow these four steps to come up with a thesis statement :

• Ask a question about your topic .
• Write your initial answer.
• Develop your answer by including reasons.
• Refine your answer, adding more detail and nuance.

The thesis statement should be placed at the end of your essay introduction .

Cite this Scribbr article

If you want to cite this source, you can copy and paste the citation or click the “Cite this Scribbr article” button to automatically add the citation to our free Citation Generator.

McCombes, S. (2023, August 15). How to Write a Thesis Statement | 4 Steps & Examples. Scribbr. Retrieved June 24, 2024, from https://www.scribbr.com/academic-essay/thesis-statement/

Is this article helpful?

Shona McCombes

Other students also liked, how to write an essay introduction | 4 steps & examples, how to write topic sentences | 4 steps, examples & purpose, academic paragraph structure | step-by-step guide & examples, "i thought ai proofreading was useless but..".

I've been using Scribbr for years now and I know it's a service that won't disappoint. It does a good job spotting mistakes”

Reference management. Clean and simple.

How long are thesis statements? [with examples]

What is the proper length of a thesis statement?

Examples of thesis statements, frequently asked questions about the length of thesis statements, related articles.

If you find yourself in the process of writing a thesis statement but you don't know how long it should be, you've come to right place. In the next paragraphs you will learn about the most efficient way to write a thesis statement and how long it should be.

A thesis statement is a concise description of your work’s aim.

The short answer is: one or two sentences. The more i n-depth answer: as your writing evolves, and as you write longer papers, your thesis statement will typically be at least two, and often more, sentences. The thesis of a scholarly article may have three or four long sentences.

The point is to write a well-formed statement that clearly sets out the argument and aim of your research. A one sentence thesis is fine for shorter papers, but make sure it's a full, concrete statement. Longer thesis statements should follow the same rule; be sure that your statement includes essential information and resist too much exposition.

Here are some basic rules for thesis statement lengths based on the number of pages:

• 5 pages : 1 sentence
• 5-8 pages : 1 or 2 sentences
• 8-13 pages : 2 or 3 sentences
• 13-23 pages : 3 or 4 sentences
• Over 23 pages : a few sentences or a paragraph

Joe Haley, a former writing instructor at Johns Hopkins University exemplified in this forum post the different sizes a thesis statement can take. For a paper on Jane Austen's  Pride and Prejudice,  someone could come up with these two theses:

In Jane Austen's  Pride and Prejudice , gossip is an important but morally ambiguous tool for shaping characters' opinions of each other.

As the aforementioned critics have noted, the prevalence of gossip in Jane Austen's  oeuvre  does indeed reflect the growing prominence of an explicitly-delineated private sphere in nineteenth-century British society. However, in contrast with these critics' general conclusions about Austen and class, which tend to identify her authorial voice directly with the bourgeois mores shaping her appropriation of the  bildungsroman,  the ambiguity of this communicative mode in  Pride and Prejudice  suggests that when writing at the height of her authorial powers, at least, Austen is capable of skepticism and even self-critique. For what is the narrator of her most celebrated novel if not its arch-gossip  par excellence ?

Both statements are equally sound, but the second example clearly belongs in a longer paper. In the end, the length of your thesis statement will depend on the scope of your work.

There is no exact word count for a thesis statement, since the length depends on your level of knowledge and expertise. A two sentence thesis statement would be between 20-50 words.

The length of the work will determine how long your thesis statement is. A concise thesis is typically between 20-50 words. A paragraph is also acceptable for a thesis statement; however, anything over one paragraph is probably too long.

Here is a list of Thesis Statement Examples that will help you understand better how long they can be.

As a high school student, you are not expected to have an elaborate thesis statement. A couple of clear sentences indicating the aim of your essay will be more than enough.

Here is a YouTube tutorial that will help you write a thesis statement: How To Write An Essay: Thesis Statements by Ariel Bisset.

Step By Step Guide to Writing an Essay on Film

By Film Threat Staff | December 29, 2021

Writing an essay about a film sounds like a fun assignment to do. As part of the assignment, you get to watch the movie and write an analytical essay about your impressions. However, you will soon find that you’re staring at an empty sheet of paper or computer screen with no idea what to write, how to start writing your essay, or the essential points that need to be covered and analyzed. As an  essay writing service proves, watching the movie countless times isn’t all there is to write a film analysis essay. Here’s a step-by-step guide to help you with an essay service :

1. Watch the Movie

This is the obvious starting point, but surprisingly many students skip this step. It doesn’t matter if you’ve watched the movie twice before. If you’re asked to write an essay about it, you need to watch it again. Watching the film again allows you to pay more attention to specific elements to help you write an in-depth analysis about it.  

Watching the movie is crucial because it helps you not specific parts of the movie that can be used as illustrations and examples in your essay. You’re also going to explore and analyze the movie theme within your structured plan. Some of the critical elements that you have to look out for while watching the movie that may be crucial for your essay are:

• Key plot moments
• Editing style
• Stylistic elements
• Scenario execution
• Musical elements

2. Introduction

Your introduction will contain essential information about the film, such as the title, release date, director’s name, etc. This familiarizes the reader with the movie’s primary background information. In addition, researching the filmmaker may be crucial for your essay because it may help you discover valuable insights for your film analysis.

The introduction should also mention the movie’s central theme and explain why you think it was made that way.

Do not forget to include your thesis statement, which explains your focus on the movie.

3. Write a Summary

According to an  essay writing service  providing students   help with essays , a movie summary comes after the introduction. It includes the film’s basic premise, but it doesn’t have to reveal too many details about the film. It’s a summary, after all. Write the summary like your readers have not heard about the movie before, so you can mention the most basic plots but assume you have minimal time so you won’t be going into great details.

4. Write Your Analysis

This is the central part of the essay in which you analyze the movie critically and state your impressions about the film. Ensure to support your claims with relevant materials from the movie.

There are also several creative elements in a movie that are connected to make the film a whole. You must pay attention to these elements while watching the movie and analyze them in this part of the essay.

In this, you are looking out for the dialogs, character development, completion of scenes, and logical event sequences in the film to analyze.

Ensure you try to understand the logic behind events in the film and the actor’s motives to explain the scenario better.

The responsibility of different parts of the movie, such as plan selection and scenario execution, falls on the director. So, your analysis here focuses on how the director realized the script compared to his other movies. Understanding the director’s style of directing may be crucial to coming up with a conclusion relevant to your analysis and thesis.

The casting of a film is a significant element to consider in your essay. Without a great actor, the scriptwriter and director can’t bring their ideas to life. So, watch the actor’s acting and determine if they portrayed the character effectively and if their acting aligns with the film’s main idea.

• Musical element

A movie’s musical element enhances some of the sceneries or actions in the film and sets the mood. It has a massive impact on the movie, so it’s an essential element to analyze in your essay.

• Visual elements

This includes special effects, make-up, costumes, etc., which significantly impact the film. These elements must reflect the film’s atmosphere. It is even more crucial for historical movies since it has to be specific about an era.

Ensure to analyze elements relevant to your thesis statement, so you don’t drift from your main point.

5. Conclusion

In concluding your essay, you have to summarize the primary concepts more convincingly to support your analysis. Finally, you may include a CTA for readers to watch or avoid the movie.

These are the crucial steps to take when writing an essay about a film . Knowing this beforehand prevents you from struggling to start writing after watching the movie.

Leave a Reply Cancel reply

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

Save my name, email, and website in this browser for the next time I comment.

… [Trackback]

[…] Find More Info here to that Topic: filmthreat.com/features/step-by-step-guide-to-writing-an-essay-on-film/ […]

[…] Read More: filmthreat.com/features/step-by-step-guide-to-writing-an-essay-on-film/ […]

It’s really amazing instructions! I have got the great knowledge.

[…] now and then. Unfortunately, not all of us can afford to get cinema tickets to do so.  Some…Writing an essay about a film sounds like a fun assignment to do. As part of the assignment, you get…Since a few decades the film and entertainment sector have undergone some drastic transformation. […]

I can’t list the number of essays that don’t follow this format in the least. But then I find most reviews of movies terrible and most people who purport themselves to be writers as people who need to spend more time drafting and editing before publishing.

Thanks for this

Is Movie Streaming the Next Step for NFT?

Since a few decades the film and entertainment sector have undergone some drastic transformation. The first ever format to bring movies in the household...

How To Get A New Netflix Series On Your Subscription?

There are also some problems in getting new Netflix series on your subscription because of geo-restriction. If you are not in the USA then you still can't...

Amazing CBD Movies And TV Shows To Enjoy On Weekends 

Most avid consumers of CBD attribute their love for it to cinemas and movies. The media always adds a touch of pizzazz to all that has to do with various...

8 Steps to Enjoy a Boring Movie

Sometimes, movies can be boring. Maybe your spouse dragged you to the theatres to watch a romantic comedy that made you fall asleep? Or maybe you went on a...

What Can We Learn from Netflix’s All-Time Top 10 movies?

Our excitement for the weekend never fades, and we begin making plans from the weekdays. Weekdays are too busy to relax and watch Netflix, so the weekends...

Where to Get Your Fill of Fantasy

Reality can be incredible, but nothing beats the feeling of stepping into a new world filled with magic, mystery, and excitement. We all need a break from...

Join our Film Threat Newsletter

Stack Exchange Network

Stack Exchange network consists of 183 Q&A communities including Stack Overflow , the largest, most trusted online community for developers to learn, share their knowledge, and build their careers.

Q&A for work

Connect and share knowledge within a single location that is structured and easy to search.

Is it possible to write a masters thesis in 10 days? [closed]

Was it ever possible for anyone to finish writing a master thesis in 10 days? I've been struggling for a long time now to focus on my writing due to several personal problems and I'm running close to my deadline so I'm starting to freak out. I welcome any suggestions at this point.

• time-management

• 1 Can you push your deadline to next semester? –  HEITZ Commented Nov 30, 2016 at 22:43
• 4 I think that really depends on your field, how comprehensive the exact subject of your thesis is, how knowledgeable you are and how well skilled you are in academic writing. I wrote mine in a little over 25 hours in total, but this excludes reading literature and the time required for doing experiments. –  pbond Commented Nov 30, 2016 at 23:41
• 1 What @pbond said with the additional question of what the requirements of the actual thesis are. –  Raydot Commented Dec 1, 2016 at 0:44
• 1 I hope you are holed up somewhere working hard on your draft, instead of reading this comment. But if you are reading this comment, go get started! Promise yourself a little reward after a good day's work. After a few days, when you are really on a roll, THEN you may contact someone official to ask for an extension. –  aparente001 Commented Dec 1, 2016 at 2:18

4 Answers 4

If by "writing" you mean to do the research/experiments/studying and then write the thesis then no .

If by "writing" you mean transforming your well organized notes into one document, then yes , maybe if you have great discipline.

If by "writing" you mean to start to write-up from not-so well organized notes, then most probably not .

If you want to try to make it, stop hanging around on the internet and start working.

• 2 This made me laugh, which was much needed. –  NZKshatriya Commented Dec 1, 2016 at 1:28
• Concise yet precise. –  Ébe Isaac Commented Dec 1, 2016 at 4:05
• Great last sentence. –  Pere Commented Dec 22, 2016 at 19:51

It can be done, but I would be dubious of the quality. That said, I can't recall a Master's thesis that set the world on fire, so I suppose quality is a poor metric.

Here are some suggestions:

• Make sure you've got all the material you need to write because that's what you need to do -- write. Find a nest and keep all the distractions out.
• Set minimum targets for your writing. Then, meet and exceed it. I suggest setting targets that allow you to finish writing in eight days, not 10. This gives you some padding in case life gets in the way. To be clear, there are 192 hours in eight days. Allowing for a 12-hour work day, then you need to write 15,000 words in 96 hours or about 156 words an hour. Set a target of 400 words an hour.
• Make sure you have time to edit your work.

Good luck to you.

• 3 Just to nitpick: Shannon's masters thesis was actually quite groundbreaking, more so than his PhD. Apart from that, I agree with your advice. Start now. –  Captain Emacs Commented Nov 30, 2016 at 23:41
• I would love to read it. Do you have a link to the thesis or perhaps some papers that have been produced from it? –  user65587 Commented Dec 1, 2016 at 2:42
• I think it should be googleable, I do not know whether I can link it here. It is essentially how to use Boolean algebra to simplify circuits. Retrospectively obvious, it wasn't at its time. –  Captain Emacs Commented Dec 1, 2016 at 11:43
• @Captain Emacs: Although a bit old, there's the case of Luzin's Master's thesis: . . . he completed his thesis The integral and trigonometric series which he submitted in 1915. After his oral examination he was awarded a doctorate, despite having submitted his thesis for the Master's Degree. In fact, even for a Ph.D. thesis, Luzin's is one of the strongest ever written in mathematics --- probably in the top 10 to 20 of all-time for its influence on later developments. –  Dave L Renfro Commented Dec 1, 2016 at 14:48

Yes. You can write it in 10 days though the result won't be good. Make sure you write 1000 to 1500 words a day. So, rather than starting to freak out, you can start writing now

If it's an MFA thesis (average length: 2-3 pages) yes. If it's a science one where you're reporting on results and my impression is that the length isn't too terribly long, maybe. If it's a humanities one that's in the 100-150 page range, it's unlikely (I've written 10-15 pages in a day before, but I doubt I can keep that pace up for ten pages).

You should look into extending into next semester, even if it's just shooting off a quick email while continuing to work. If you have had a large number of personal problems that have negatively affected your ability to complete your school work (and are in the US, not sure how it would apply elsewhere), you should (a) speak with the counseling center on campus and (b) consider a withdrawal under extenuating circumstances (typically called a medical withdrawal, but at least at my school they are allowed for other reasons). If there's no penalty at all for extending into next semester, (b) might not even be necessary — it's super common for both master's and PhD students to miss their expected graduation date by a semester or two because of the thesis/dissertation.

But if you're running up against a hard time limit, the withdrawal would gain you an extra semester. If withdrawal isn't an option, at many schools you can also (c) petition the university to waive the time limit given your circumstances. I don't think I've ever really heard of those petitions being denied if the reason is even halfway reasonable.

Not the answer you're looking for? Browse other questions tagged thesis masters writing time-management deadlines .

• Featured on Meta
• Upcoming sign-up experiments related to tags

Hot Network Questions

• Why does c show up in Schwarzschild's equation for the horizon radius?
• What is the safest way to camp in a zombie apocalypse?
• What does it mean for observations to be uncorrelated and have constant variance?
• Tiny book about a planet full of man-eating sunflowers
• Who is Maud here?
• Are the complex numbers a graded algebra?
• Rewarding the finding of zeroes of a hash function
• Is it problematic to define the line integral in terms of infinitesimals
• Numerical approximation of the integral by using data
• Sink vs Basin distinction
• C# Linked List implementation
• Meaning of あんたの今 here
• Is FDISK /MBR really undocumented, and why?
• What rights does an employee retain, if any, who does not consent to being monitored on a work IT system?
• Voronoi mesh of a circular image
• Can apophatic theology offer a coherent resolution to the "problem of the creator of God"?
• Visiting every digit
• Forcing QGIS to export using left hand rule
• Mōnstrō and mōnstrum - how exactly are they related?
• A Colorful explosion
• Order given by two probability measures
• A TCP server which uses one thread to read while writing data with another thread
• Can a contract require you to accept new T&C?
• TikZ - diagram of a 1D spin chain

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

ONCE UPON A TIME IN MOVIE THEATRES: HOW THE FILM INDUSTRY IS RE-WRITING ITS SCREENPLAY Master thesis in CULTURAL ECONOMICS

The outbreak of Covid-19 pandemic in the early months of 2020 unleashed a domino effect that impacted a wide variety of sectors. Among others, the film industry registered critical detriments, with thousands of cinema theatres closed around the world and film productions, major releases and some of the most important events in the field, such as festivals and awards postponed, temporarily suspended or definitively cancelled. The aim of this thesis is to outline an extensive picture of the Covid-19 effects on the world of cinema, starting from the analysis of the pre-existing challenges that were affecting the business and that have been exacerbated by the health crisis, namely the impact of digital technologies on the film value chain, the enhancement of OTT and VOD platforms and the consequent “streaming war”, the constant need for original contents, the overload of franchises and sequels and the predominance of blockbusters at the expenses of small and mid-budget productions. The research will therefore focus on film festivals that, being the quintessential node of intersection between trade and artistic interests can be regarded as an ideal “microcosm” from which to develop a reflection on cinema and the processes in which it is involved. In this respect, the analysis of the 34th edition of Il Cinema Ritrovato was deemed an emblematic case study to investigate the extent in which the outbreak of the virus impacted the industry of cinema, providing interesting insights on the implementation and management of an unprecedented festival configuration involving the co-existence of live and digital events. The study will thus highlight the pivotal role played by the pandemic hiatus in accelerating a process of change in spaces, times and means of consumption, eventually giving the opportunity to re-think the way in which audiences and professional approach and define cinema.

Related Papers

Rafael L Freire , Charlotte Orzel

The COVID-19 (SARS-CoV-2) pandemic has led to a generational crisis for film exhibition around the world. Since the pandemic began in 2019, movie theaters have been forced to close their doors temporarily or permanently, alter their modes of presentation and the parameters of the theatrical experience, and transform their operations in countless other ways. But COVID-19 is certainly not the first crisis in film exhibition, nor the only one in process locally and globally. The introduction to this special section examines the concept of crisis in the study of film exhibition and the historic and contemporary crises that have altered cinemagoing practice. It argues that these crises open opportunities for scholars to analyze a broad array of social, political, and industrial impacts that influence film exhibition and related areas of cultural and creative practice across time and space, introducing new research that employs this analytical lens.

Herwin Cabasal

Quarantine cinema emerges as a film culture and genre characterized by its offering of alternative film practice and prevalent narratives in the time of COVID-19 pandemic. This phenomenon is a result of necessary adjustments to adapt in these trying times and a critical response to the social, political, and economic issues brought by a public health crisis. The research questions that this paper sought to answer deals with both the creative process and content: (a) How did the filmmakers of quarantine cinema and organizers of quarantine film festivals, despite the inevitable constraints and challenges, resiliently respond to the imperative need to change in terms of filmmaking and film screening? (b) What are the prevalent themes and patterns in the narratives of quarantine cinema that genuinely depicted the lived experiences based on the overlapping struggles and triumphs of the Filipinos during the first year of the COVID-19 pandemic? The results indicate how quarantine cinema plays its part in sustaining art and culture amidst the virus outbreak by practicing alternative ways of film production that is limited and confined at homes and personal spaces; film aesthetics that deviate from the standardized forms, techniques, and styles; and film exhibition and events that heavily relied on social media and online platforms. Based on the recurring categories of themes in the narratives of quarantine cinema, these audiovisual productions significantly contribute to the data, proof, and collective memories that reveal how the Philippines and its people experienced the virus outbreak intended for cultural and social dialogue, criticism, and discourse.

Marijke de Valck , Antoine Damiens

As the year 2020 is slowly coming to an end, we are confronting an unprecedented crisis and witnessing what will likely be a major moment in the history of film festivals. The novel coronavirus COVID-19 provoked a pandemic of soaring proportions and the restrictive measures taken to contain the virus are heavily impacting the global festival world. This particular climate is defined by uncertainty: as such, it seems that the festival circuit is in a constant state of suspension. We do not know how long the disruption will last, to what extent we will be able to ‘go back to normal’, nor how deeply the festival world will be impacted. For those working in and for the film festival industry, the current crisis poses immediate challenges and severe risks. For those with scholarly engagement to film festivals and the industries and cinemas supported by them, the crisis offers challenges as well as opportunities to reflect on our ways of thinking about the festival ecosystem.

Zeitschrift für Medienwissenschaft

Ger Zielinski

Open-Access text with link below. On the state of film festivals under the COVID-19 pandemic 2020. Open-Media-Studies-Blog, Zeitschrift für Medienwissenschaft Link at https://mediastudies.hypotheses.org/2484

Documentary film cultures in the age of COVID-19

Anna Zoellner

Aniki: Revista Portuguesa da Imagem em Movimento

Charlotte Orzel

Interview with Jackie Brenneman and Bryan Braunlich of the National Association of Theater Owners (NATO) and The Cinema Foundation, in which they discuss their organizations’ response to the COVID-19 pandemic in defense of US cinema owners. Brenneman recounts the first three years of the pandemic, including NATO’s initial understandings and activities during the early weeks of the pandemic’s spread to the US. She details NATO’s role in government support programs, distribution challenges, and evolving industry narratives surrounding exhibition, as well as her own experiences working to assist in exhibition’s recovery. Brenneman also reflects on the broader impact of the pandemic on the industry after three years of struggle and adaptation. With Braunlich, she explains the goals, initiatives, and trajectory of The Cinema Foundation, a cross-industry organization founded in the wake of the pandemic to advocate for stakeholders across the exhibition sector.

Péter Szitás

The past two years have posed unprecedented challenges for the cultural sector as a whole, including theatres. The outbreak of the pandemic, and the restrictions imposed to contain it, turned the institutional routine on its head, placing the world of the performing arts in a dimension alien to it. Our study focuses on the internal processes that characterised theatres before, during and after the pandemic. We will illustrate how the venues have responded to the enforced closures, what they have done to preserve their communities and audiences, and whether they have acquired valuable knowledge at a level that may be applied in returning them to their former domain.

Marco Dalla Gassa

Reframing Film Festivals: Histories, Economies and Cultures is an international film studies conference organised by the Ca’ Foscari University of Venice and the Aldo Moro University of Bari, in collaboration with the the Apulia Film Commission, the Consulta Universitaria Cinema and the Associazione Italiana per le Ricerche di Storia del Cinema and is supported by the Centro Studi Apulia Film Commission, Science Gallery Venice and Hostelsclub. This double-event conference seeks to contribute to the so-called film festival studies through a series of roundtables and debates involving film critics, practitioners and scholars. In this vein, Reframing Film Festivals seeks to foster an interdisciplinary and intersectional reading of film festivals, here conceived as a historiographic “dispositive”, as cultural formations and as financial institutions. Within a single and cohesive research framework, the Ca’ Foscari strand (11-12 February) will be devoted to the critical-historic and historiographic dimension of film festivals, while at the University of Bari (25-26 March) the focus will be placed on their cultural and economic dimension.

Baltic Screen Media Review

Indrek Ibrus , Teet Teinemaa

CTC 2021 PROCEEDINGS BOOK

OKAN ORMANLI

Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have...

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

Lothar Mikos

Prof. Paul A . Silva

Francesco Pitassio

Studies in Eastern European Cinema

Jan Hanzlik

Cinema and the Festivalization of Capitalism

Media International Australia, Incorporating …

Kirsten Stevens

International Journal of Integrative Humanism

Eziwho Azunwo , Harmony Odoyi

Springer International Publishing eBooks

Farah Clémentine Dramani-Issifou

Abraka Humanities Review

Aghogho L U C K Y Imiti

Mediascapes Journal

Laura Gemini

Mike McKenny

Brilli S., Gemini L., Giuliani F.

Laura Gemini , Francesca Giuliani

Federico Zecca , Angela Bianca Saponari , Marco Dalla Gassa

Participations

İlke Sanlier , Aydın Çam

Barbara Majsa

Immagine. Note di storia del cinema (AIRSC)

Homo Virtualis

Eleni Timplalexi

Cinéma & Cie

Ian Robinson

Erato Basea

PhD thesis, University of Leeds

Rachel Johnson

Cinéma&Cie. International Film Studies Journal

Janet Harbord

Adam Stangeby (Thul Husk)

Conference Proceedings; Lumos English conference

Malavika Ajikumar

RELATED TOPICS

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024

• Resources Home 🏠
• Try SciSpace Copilot
• Search research papers
• Add Copilot Extension
• Try AI Detector
• Try Paraphraser
• Try Citation Generator
• April Papers
• June Papers
• July Papers

What is a thesis | A Complete Guide with Examples

Table of Contents

A thesis is a comprehensive academic paper based on your original research that presents new findings, arguments, and ideas of your study. It’s typically submitted at the end of your master’s degree or as a capstone of your bachelor’s degree.

However, writing a thesis can be laborious, especially for beginners. From the initial challenge of pinpointing a compelling research topic to organizing and presenting findings, the process is filled with potential pitfalls.

Therefore, to help you, this guide talks about what is a thesis. Additionally, it offers revelations and methodologies to transform it from an overwhelming task to a manageable and rewarding academic milestone.

What is a thesis?

A thesis is an in-depth research study that identifies a particular topic of inquiry and presents a clear argument or perspective about that topic using evidence and logic.

Writing a thesis showcases your ability of critical thinking, gathering evidence, and making a compelling argument. Integral to these competencies is thorough research, which not only fortifies your propositions but also confers credibility to your entire study.

Furthermore, there's another phenomenon you might often confuse with the thesis: the ' working thesis .' However, they aren't similar and shouldn't be used interchangeably.

A working thesis, often referred to as a preliminary or tentative thesis, is an initial version of your thesis statement. It serves as a draft or a starting point that guides your research in its early stages.

As you research more and gather more evidence, your initial thesis (aka working thesis) might change. It's like a starting point that can be adjusted as you learn more. It's normal for your main topic to change a few times before you finalize it.

While a thesis identifies and provides an overarching argument, the key to clearly communicating the central point of that argument lies in writing a strong thesis statement.

What is a thesis statement?

A strong thesis statement (aka thesis sentence) is a concise summary of the main argument or claim of the paper. It serves as a critical anchor in any academic work, succinctly encapsulating the primary argument or main idea of the entire paper.

Typically found within the introductory section, a strong thesis statement acts as a roadmap of your thesis, directing readers through your arguments and findings. By delineating the core focus of your investigation, it offers readers an immediate understanding of the context and the gravity of your study.

Furthermore, an effectively crafted thesis statement can set forth the boundaries of your research, helping readers anticipate the specific areas of inquiry you are addressing.

Different types of thesis statements

A good thesis statement is clear, specific, and arguable. Therefore, it is necessary for you to choose the right type of thesis statement for your academic papers.

Thesis statements can be classified based on their purpose and structure. Here are the primary types of thesis statements:

Argumentative (or Persuasive) thesis statement

Purpose : To convince the reader of a particular stance or point of view by presenting evidence and formulating a compelling argument.

Example : Reducing plastic use in daily life is essential for environmental health.

Analytical thesis statement

Purpose : To break down an idea or issue into its components and evaluate it.

Example : By examining the long-term effects, social implications, and economic impact of climate change, it becomes evident that immediate global action is necessary.

Expository (or Descriptive) thesis statement

Purpose : To explain a topic or subject to the reader.

Example : The Great Depression, spanning the 1930s, was a severe worldwide economic downturn triggered by a stock market crash, bank failures, and reduced consumer spending.

Cause and effect thesis statement

Purpose : To demonstrate a cause and its resulting effect.

Example : Overuse of smartphones can lead to impaired sleep patterns, reduced face-to-face social interactions, and increased levels of anxiety.

Compare and contrast thesis statement

Purpose : To highlight similarities and differences between two subjects.

Example : "While both novels '1984' and 'Brave New World' delve into dystopian futures, they differ in their portrayal of individual freedom, societal control, and the role of technology."

When you write a thesis statement , it's important to ensure clarity and precision, so the reader immediately understands the central focus of your work.

What is the difference between a thesis and a thesis statement?

While both terms are frequently used interchangeably, they have distinct meanings.

A thesis refers to the entire research document, encompassing all its chapters and sections. In contrast, a thesis statement is a brief assertion that encapsulates the central argument of the research.

Here’s an in-depth differentiation table of a thesis and a thesis statement.

Now, to craft a compelling thesis, it's crucial to adhere to a specific structure. Let’s break down these essential components that make up a thesis structure

15 components of a thesis structure

Navigating a thesis can be daunting. However, understanding its structure can make the process more manageable.

Here are the key components or different sections of a thesis structure:

Your thesis begins with the title page. It's not just a formality but the gateway to your research.

Here, you'll prominently display the necessary information about you (the author) and your institutional details.

• Title of your thesis
• Your full name
• Your department
• Your institution and degree program
• Your submission date
• Your Supervisor's name (in some cases)
• Your Department or faculty (in some cases)
• Your University's logo (in some cases)
• Your Student ID (in some cases)

In a concise manner, you'll have to summarize the critical aspects of your research in typically no more than 200-300 words.

This includes the problem statement, methodology, key findings, and conclusions. For many, the abstract will determine if they delve deeper into your work, so ensure it's clear and compelling.

Acknowledgments

Research is rarely a solitary endeavor. In the acknowledgments section, you have the chance to express gratitude to those who've supported your journey.

This might include advisors, peers, institutions, or even personal sources of inspiration and support. It's a personal touch, reflecting the humanity behind the academic rigor.

Table of contents

A roadmap for your readers, the table of contents lists the chapters, sections, and subsections of your thesis.

By providing page numbers, you allow readers to navigate your work easily, jumping to sections that pique their interest.

List of figures and tables

Research often involves data, and presenting this data visually can enhance understanding. This section provides an organized listing of all figures and tables in your thesis.

It's a visual index, ensuring that readers can quickly locate and reference your graphical data.

Introduction

Here's where you introduce your research topic, articulate the research question or objective, and outline the significance of your study.

• Present the research topic : Clearly articulate the central theme or subject of your research.
• Background information : Ground your research topic, providing any necessary context or background information your readers might need to understand the significance of your study.
• Define the scope : Clearly delineate the boundaries of your research, indicating what will and won't be covered.
• Literature review : Introduce any relevant existing research on your topic, situating your work within the broader academic conversation and highlighting where your research fits in.
• State the research Question(s) or objective(s) : Clearly articulate the primary questions or objectives your research aims to address.
• Outline the study's structure : Give a brief overview of how the subsequent sections of your work will unfold, guiding your readers through the journey ahead.

The introduction should captivate your readers, making them eager to delve deeper into your research journey.

Literature review section

Your study correlates with existing research. Therefore, in the literature review section, you'll engage in a dialogue with existing knowledge, highlighting relevant studies, theories, and findings.

It's here that you identify gaps in the current knowledge, positioning your research as a bridge to new insights.

To streamline this process, consider leveraging AI tools. For example, the SciSpace literature review tool enables you to efficiently explore and delve into research papers, simplifying your literature review journey.

Methodology

In the research methodology section, you’ll detail the tools, techniques, and processes you employed to gather and analyze data. This section will inform the readers about how you approached your research questions and ensures the reproducibility of your study.

Here's a breakdown of what it should encompass:

• Research Design : Describe the overall structure and approach of your research. Are you conducting a qualitative study with in-depth interviews? Or is it a quantitative study using statistical analysis? Perhaps it's a mixed-methods approach?
• Data Collection : Detail the methods you used to gather data. This could include surveys, experiments, observations, interviews, archival research, etc. Mention where you sourced your data, the duration of data collection, and any tools or instruments used.
• Sampling : If applicable, explain how you selected participants or data sources for your study. Discuss the size of your sample and the rationale behind choosing it.
• Data Analysis : Describe the techniques and tools you used to process and analyze the data. This could range from statistical tests in quantitative research to thematic analysis in qualitative research.
• Validity and Reliability : Address the steps you took to ensure the validity and reliability of your findings to ensure that your results are both accurate and consistent.
• Ethical Considerations : Highlight any ethical issues related to your research and the measures you took to address them, including — informed consent, confidentiality, and data storage and protection measures.

Moreover, different research questions necessitate different types of methodologies. For instance:

• Experimental methodology : Often used in sciences, this involves a controlled experiment to discern causality.
• Qualitative methodology : Employed when exploring patterns or phenomena without numerical data. Methods can include interviews, focus groups, or content analysis.
• Quantitative methodology : Concerned with measurable data and often involves statistical analysis. Surveys and structured observations are common tools here.
• Mixed methods : As the name implies, this combines both qualitative and quantitative methodologies.

The Methodology section isn’t just about detailing the methods but also justifying why they were chosen. The appropriateness of the methods in addressing your research question can significantly impact the credibility of your findings.

Results (or Findings)

This section presents the outcomes of your research. It's crucial to note that the nature of your results may vary; they could be quantitative, qualitative, or a mix of both.

Quantitative results often present statistical data, showcasing measurable outcomes, and they benefit from tables, graphs, and figures to depict these data points.

Qualitative results , on the other hand, might delve into patterns, themes, or narratives derived from non-numerical data, such as interviews or observations.

Regardless of the nature of your results, clarity is essential. This section is purely about presenting the data without offering interpretations — that comes later in the discussion.

In the discussion section, the raw data transforms into valuable insights.

Start by revisiting your research question and contrast it with the findings. How do your results expand, constrict, or challenge current academic conversations?

Dive into the intricacies of the data, guiding the reader through its implications. Detail potential limitations transparently, signaling your awareness of the research's boundaries. This is where your academic voice should be resonant and confident.

Practical implications (Recommendation) section

Based on the insights derived from your research, this section provides actionable suggestions or proposed solutions.

Whether aimed at industry professionals or the general public, recommendations translate your academic findings into potential real-world actions. They help readers understand the practical implications of your work and how it can be applied to effect change or improvement in a given field.

When crafting recommendations, it's essential to ensure they're feasible and rooted in the evidence provided by your research. They shouldn't merely be aspirational but should offer a clear path forward, grounded in your findings.

The conclusion provides closure to your research narrative.

It's not merely a recap but a synthesis of your main findings and their broader implications. Reconnect with the research questions or hypotheses posited at the beginning, offering clear answers based on your findings.

Reflect on the broader contributions of your study, considering its impact on the academic community and potential real-world applications.

Lastly, the conclusion should leave your readers with a clear understanding of the value and impact of your study.

References (or Bibliography)

Every theory you've expounded upon, every data point you've cited, and every methodological precedent you've followed finds its acknowledgment here.

In references, it's crucial to ensure meticulous consistency in formatting, mirroring the specific guidelines of the chosen citation style .

Proper referencing helps to avoid plagiarism , gives credit to original ideas, and allows readers to explore topics of interest. Moreover, it situates your work within the continuum of academic knowledge.

To properly cite the sources used in the study, you can rely on online citation generator tools  to generate accurate citations!

Here’s more on how you can cite your sources.

Often, the depth of research produces a wealth of material that, while crucial, can make the core content of the thesis cumbersome. The appendix is where you mention extra information that supports your research but isn't central to the main text.

Whether it's raw datasets, detailed procedural methodologies, extended case studies, or any other ancillary material, the appendices ensure that these elements are archived for reference without breaking the main narrative's flow.

For thorough researchers and readers keen on meticulous details, the appendices provide a treasure trove of insights.

Glossary (optional)

In academics, specialized terminologies, and jargon are inevitable. However, not every reader is versed in every term.

The glossary, while optional, is a critical tool for accessibility. It's a bridge ensuring that even readers from outside the discipline can access, understand, and appreciate your work.

By defining complex terms and providing context, you're inviting a wider audience to engage with your research, enhancing its reach and impact.

Remember, while these components provide a structured framework, the essence of your thesis lies in the originality of your ideas, the rigor of your research, and the clarity of your presentation.

As you craft each section, keep your readers in mind, ensuring that your passion and dedication shine through every page.

Thesis examples

To further elucidate the concept of a thesis, here are illustrative examples from various fields:

Example 1 (History): Abolition, Africans, and Abstraction: the Influence of the ‘Noble Savage’ on British and French Antislavery Thought, 1787-1807 by Suchait Kahlon.

Example 2 (Climate Dynamics): Influence of external forcings on abrupt millennial-scale climate changes: a statistical modelling study by Takahito Mitsui · Michel Crucifix

Checklist for your thesis evaluation

Evaluating your thesis ensures that your research meets the standards of academia. Here's an elaborate checklist to guide you through this critical process.

Content and structure

• Is the thesis statement clear, concise, and debatable?
• Does the introduction provide sufficient background and context?
• Is the literature review comprehensive, relevant, and well-organized?
• Does the methodology section clearly describe and justify the research methods?
• Are the results/findings presented clearly and logically?
• Does the discussion interpret the results in light of the research question and existing literature?
• Is the conclusion summarizing the research and suggesting future directions or implications?

Clarity and coherence

• Is the writing clear and free of jargon?
• Are ideas and sections logically connected and flowing?
• Is there a clear narrative or argument throughout the thesis?

Research quality

• Is the research question significant and relevant?
• Are the research methods appropriate for the question?
• Is the sample size (if applicable) adequate?
• Are the data analysis techniques appropriate and correctly applied?
• Are potential biases or limitations addressed?

Originality and significance

• Does the thesis contribute new knowledge or insights to the field?
• Is the research grounded in existing literature while offering fresh perspectives?

Formatting and presentation

• Is the thesis formatted according to institutional guidelines?
• Are figures, tables, and charts clear, labeled, and referenced in the text?
• Is the bibliography or reference list complete and consistently formatted?
• Are appendices relevant and appropriately referenced in the main text?

Grammar and language

• Is the thesis free of grammatical and spelling errors?
• Is the language professional, consistent, and appropriate for an academic audience?
• Are quotations and paraphrased material correctly cited?

Feedback and revision

• Have you sought feedback from peers, advisors, or experts in the field?
• Have you addressed the feedback and made the necessary revisions?

Overall assessment

• Does the thesis as a whole feel cohesive and comprehensive?
• Would the thesis be understandable and valuable to someone in your field?

Ensure to use this checklist to leave no ground for doubt or missed information in your thesis.

After writing your thesis, the next step is to discuss and defend your findings verbally in front of a knowledgeable panel. You’ve to be well prepared as your professors may grade your presentation abilities.

Preparing your thesis defense

A thesis defense, also known as "defending the thesis," is the culmination of a scholar's research journey. It's the final frontier, where you’ll present their findings and face scrutiny from a panel of experts.

Typically, the defense involves a public presentation where you’ll have to outline your study, followed by a question-and-answer session with a committee of experts. This committee assesses the validity, originality, and significance of the research.

The defense serves as a rite of passage for scholars. It's an opportunity to showcase expertise, address criticisms, and refine arguments. A successful defense not only validates the research but also establishes your authority as a researcher in your field.

Here’s how you can effectively prepare for your thesis defense .

Now, having touched upon the process of defending a thesis, it's worth noting that scholarly work can take various forms, depending on academic and regional practices.

One such form, often paralleled with the thesis, is the 'dissertation.' But what differentiates the two?

Dissertation vs. Thesis

Often used interchangeably in casual discourse, they refer to distinct research projects undertaken at different levels of higher education.

To the uninitiated, understanding their meaning might be elusive. So, let's demystify these terms and delve into their core differences.

Here's a table differentiating between the two.

Wrapping up

From understanding the foundational concept of a thesis to navigating its various components, differentiating it from a dissertation, and recognizing the importance of proper citation — this guide covers it all.

As scholars and readers, understanding these nuances not only aids in academic pursuits but also fosters a deeper appreciation for the relentless quest for knowledge that drives academia.

It’s important to remember that every thesis is a testament to curiosity, dedication, and the indomitable spirit of discovery.

Good luck with your thesis writing!

Frequently Asked Questions

A thesis typically ranges between 40-80 pages, but its length can vary based on the research topic, institution guidelines, and level of study.

A PhD thesis usually spans 200-300 pages, though this can vary based on the discipline, complexity of the research, and institutional requirements.

To identify a thesis topic, consider current trends in your field, gaps in existing literature, personal interests, and discussions with advisors or mentors. Additionally, reviewing related journals and conference proceedings can provide insights into potential areas of exploration.

The conceptual framework is often situated in the literature review or theoretical framework section of a thesis. It helps set the stage by providing the context, defining key concepts, and explaining the relationships between variables.

A thesis statement should be concise, clear, and specific. It should state the main argument or point of your research. Start by pinpointing the central question or issue your research addresses, then condense that into a single statement, ensuring it reflects the essence of your paper.

You might also like

Boosting Citations: A Comparative Analysis of Graphical Abstract vs. Video Abstract

The Impact of Visual Abstracts on Boosting Citations

Introducing SciSpace’s Citation Booster To Increase Research Visibility