Capstone: a cinema history research project

This final lesson turns you from a reader of cinema history into a researcher. You will plan and carry out a short research project on a question in film history, using primary sources from archives, libraries and databases, and present your findings in a well-argued essay or presentation. The lesson walks through choosing a question, finding and evaluating sources, working with archives in Canada and the United States, using quantitative evidence, citing sources correctly and avoiding common pitfalls. It ends with a model project plan.

From topic to research question

A topic is a broad area, such as "Quebec cinema of the 1960s" or "early sound films." A research question is a specific, answerable question that guides your investigation. Good questions are narrow enough to answer with the sources available, open enough to require argument, and significant enough to matter.

Questions that ask "how" or "why" usually lead to stronger arguments than questions that ask "what" or "whether." Begin with a working question and expect to refine it as you find sources.

Finding primary sources

Primary sources for film history include films, scripts, production files, studio correspondence, trade journals, newspapers and magazines, censorship records, posters and promotional materials, photographs, equipment, government documents and oral histories. Many are now digitized.

In the United States, key sources include the Library of Congress, including its Moving Image Research Center and the National Film Registry; the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences, which holds scripts, production files and the files of the Production Code Administration; the Museum of Modern Art; the UCLA Film and Television Archive; university special collections; and the Media History Digital Library, which provides free digitized trade papers and fan magazines.

Internationally, the FIAF directory lists film archives around the world, and many national archives, such as the British Film Institute, have extensive online collections and catalogs.

Evaluating sources

Every source has a creator, a purpose, an audience and a context. Evaluating a source means asking:

• Who created it, and what did they know?
• Why was it created: to inform, to sell, to persuade, to entertain, to record?
• When was it created, and how close was it to the events it describes?
• Who was the intended audience?
• Is it complete, edited, translated or a later copy?
• How does it compare with other sources about the same events?

Trade papers, for example, were written for exhibitors and industry insiders, so they focus on business and box office, and they sometimes printed studio publicity as news. Fan magazines promoted stars. Memoirs written decades later may misremember dates or flatter their authors. Comparing several independent sources is the historian's main defense against error.

Working with archives

Visiting an archive, in person or online, requires preparation. Search catalogs and finding aids before you go, contact archivists with specific requests, and allow time: some materials must be retrieved from storage or are fragile. Archives have rules about handling materials, photography, copying and citing. Film materials in particular may need to be viewed on specialized equipment or as digital access copies, and rights holders may restrict copying or public screening.

Archivists are expert guides; explain your question and they can often suggest collections you would not have found. Keep careful records of what you consult: collection names, box and file numbers, film titles and versions, and dates accessed. These details are essential for citation and for anyone who wants to check your work.

Using quantitative evidence

Numbers can strengthen historical arguments when used carefully. Film historians count shots and measure average shot lengths, tally films by genre or country, compare box office or admissions, and track the number of screens or cinemas over time.

Numbers need context. Box office figures must be adjusted for inflation and compared with admissions; counts of films depend on definitions; and small samples can mislead. Always state your method and sources so others can check your work.

Writing the history essay

A history essay presents an argument based on evidence. A strong essay:

• Opens with context and a clear thesis that answers your research question.
• Organizes body paragraphs around claims, each supported by specific evidence from primary sources and informed by secondary scholarship.
• Quotes sparingly and analyzes what each quotation shows.
• Acknowledges counter-evidence and limits, such as missing films or biased sources.
• Concludes by explaining the significance of your findings for film history.

Describe films precisely in your own words, citing timecodes for specific moments where helpful. When writing about films you could not see, such as lost films, say so and explain which sources you used instead.

Citing sources

Citation lets readers find your sources and gives credit to others' work. Use the style your instructor requires, such as Chicago (common in history), MLA or APA. Film citations usually include the title, director, production company or distributor, country and year, and the version or format consulted. Archival citations include the repository, collection name, box and file numbers, and document details. For digitized newspapers and trade papers, include the publication, date, page and database.

Be careful with online sources: prefer archives, libraries, scholarly databases and reputable publications, and record the date you accessed them. Fan sites and anonymous wikis can be useful starting points but should not be cited as authorities.

Ethics and rights in film history research

Researching film history raises ethical questions. Films and archives can contain racist, sexist and violent material, propaganda, and representations of communities who did not consent to how they were shown. Treat such material with care: give context, avoid reproducing harmful images unnecessarily, and consider the perspectives of the communities involved. When researching Indigenous material, follow protocols for consultation and respect community rights over cultural knowledge and images. When interviewing people for oral history, obtain informed consent, explain how their words will be used, and respect requests for anonymity.

Copyright also matters. Many films and archival documents are still protected by copyright. Using short excerpts for criticism, review and research may be allowed under fair dealing in Canada or fair use in the United States, but rules differ and depend on the purpose and amount used. When in doubt, ask your instructor, librarian or archive.

In the United States, fair use under the Copyright Act is assessed using four factors: the purpose and character of the use, the nature of the work, the amount used, and the effect on the market for the original.

A model project plan

The following example shows how a project might be planned over six weeks.