Writing a Bibliography

Anonymous
timer Asked: Nov 21st, 2016

Question description

prof. email :Make sure your intro paragraph includes information about your primary source which is the movie you choose for your research paper. Include the movies' name,director and date it is completed. Thus, much of the same format you have been taught for intro paragraphs and how you need to set up the discussion before you get to the thesis statement is the same. The only difference for this intro is that you will begin it with: "this annotated bibliography surveys...."

The second part of the bib are the entries which are the result of your research. You only need 5 resources worth 10 points each.

Follow the format I have attached exactly. You get 50 points for the intro paragraph and 50 points for the entries after the intro paragraph.

- 3 point thesis

- intro paragraph only

- the movies is : 13th ( can be found on netflix )

example is below intro below

Black female Playwrights and the Black Theatre Although some black female playwrights have enjoyed seeing their plays produced, a plethora of their counterparts cannot attest to the same success. The lack of visibility of these playwrights is not alone due to their gender. Playwrights Ntozake Shange, before her play was showcased on Broadway, staged her play in female bars. Adrienne Kennedy, who has enjoyed off-Broadway success, still seeks college campuses as an alternate venue. Both women wrote plays that strayed away from the Black Arts manifesto, but theatre space had as much to do with their reception as the message of their plays. Black theatre companies have been assailed with financial constrictions and group identity restrictions. In order to carve out a space for themselves they have had to revision and re-imagine the black image on stage according to cultural hegemonic desires. This annotated bibliography surveys the politics behind the scenes of theatre companies, how it affects Black women, and how the companies choose what plays to produce. Annotated Bibliography 1. Davis, Clinton . “Non-Traditional Casting (an Open Letter)” African American Review 31.4 (1997): 591-594. Davis questions the lack of diversity and racist hiring practices of theatre companies. The lack of black artistic directors, directors and technical staff impacts the ethnic variety of plays that are produced. 2. Harrison, Paul Carter. “The Crisis of Black Theatre Identity.” African American Review 31.4 (1997): 567-578. Harrison reasons the identity crisis of black theatre is a response to the financial appendages that dictate how the black playwright should tell their story. What appears as schizophrenia within black theatre is the artists search for black theatre market. 3. McCord, Keryl E. “The Challenge of Change.” African American Review 31.4 (1997): 601-609. McCord discusses the exclusionary practices of theatre groups. Additionally, she surveys funding structures that keep black theatres in a “colonized state” and the need to make inroads into one of the last bastions of cultural hegemony. 4. Morales, Donald M. “Do Black Theatre Institutions Translate into Great Drama” African American Review 31.4 (1997): 633-637. Morales interrogates how playwrights are restricted by the hegemony. As a result playwrights like Adrienne Kennedy and Ntozaki Shange have made use of alternative theatre sites such as, college campuses and female bars. 5. Walker, Victor Leo, II. “The National Black Theatre Summit ‘On Golden Pond’ ” African American Review 31.4 (1997): 621-627. Walker calls for strategies that will sustain black theatre groups to produce plays by black playwrights.

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