is your academic paper an effective one?

RAN HERE:
somebody handed in paper with seemingly interesting topics while they failed to follow some basic rules to develop their arguments in an effective way--by which i mean they are NOT just failing to do the right FORMATTING.

I am not sure if you have trained with regard to HOW A PAPER should LOOK like. Here I shall give some clues with a simulated proposal of mine... and you could skip if you have no concerns as such.

PLEASE ONLY PAY ATTENTION TO HOW I SHALL ORGANIZE MY THOUGHTS IN AN OUTLINE,YOU DON NOT REALLY HAVE TO WRITE ONE LIKE THIS. JUST KEEP IN MIND WHAT THEORY AND CONCEPTS YOU WILL USE AND WHERE THEY ARE MOST RELEVANT TO YOUR DISCUSSION. LITERATURE REVIEW IS EXTREMELY IMPORTANT.

Outline

Topics in History and Theory of Media III: Film Festivals

Professor Cindy Hing-Yuk Wong

Title:

Urban Generation Chinese Cinema in Transition and Western Film Festival

Thesis statement:

This paper aims to carry out a research on the relationship between western film festival circuits and the new generations’ Chinese cinema in transition, and I use “transition” to encourage a dynamic view of Urban Generation Chinese Cinema. The project will on the one hand position the Urban Generation Cinema as a film movement within certain sociocultural context—the post-socialist or post-Tian’anmen era...On the other hand, the paper will examine how the Western film festivals select, program and evaluate those Chinese independent works...

Key concept:

(1) Urban Generation

Harvard Film Archive in February 2001 held a screening of the Sixth Generation’s works entitled Urban Generation: Chinese Cinema and Society in Transformation.[1] Before this event, in December 2000 a similar film exhibition New Chinese Cinema: Tales of Urban Delight, Alienation and the Margins curated by Berenice Reynaud also took place in UCLA’s Center for East Asian Studies. In both exhibitions, so-called “Urban Generation” directors’ independent films, including Zhang Yuan’s Sons (Er’zi, 1996), Jia Zhangke’s Xiao Wu (Xiao Wu, 1997) and Wang Xiaoshuai’s So Close to Paradise (Biandan Guniang, 1998) were showcased in the U.S. while most of these films were banned or circulated in a limited circle through pirated VCDs and DVDs in China.

(2)
(3)...

Literature review:

Articles/Chapters:

Czach, Liz. “Film Festivals, Programming, and the Building of a National Cinema”, the Moving Image, 4.1:2004

--I will use the key concept of “critical capital” introduced by her; while the elaboration on programming as well as different categories of film festival will also shed light on my analysis.

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