A literature review is an objective, concise, and critical summary of existing research. When writing, organise your content around key themes and use headings or topic sentences to signal the structure. Only include relevant studies and synthesise rather than simply listing them. Use summary sentences to help readers understand how each section connects to the overall topic.
Place background information where it is most helpful for readers. Do not just point to the existence of literature; discuss the methods or findings of the studies. Stay objective but avoid turning the review into an annotated bibliography. Show how studies relate to each other. Connect paragraphs and studies together. Do not only cite sources that support your position; include dissenting studies and explain why they differ. Do not overuse direct quotations.
Writing Introductions
The introduction and conclusion act like the two slices of bread in a sandwich. The introduction tells the reader what you are writing about, why it matters, and how you will approach it.
An introduction needs to attract the reader’s attention, provide research context, and clearly state the research aim or hypothesis. You can open with an interesting fact or question, but avoid vague generalisations. The thesis statement should be clear and usually appears as the last sentence of the introduction. Make sure your research can deliver what the introduction promises.
Writing tips: do not waste words, do not overpromise, and you can write the main body first before coming back to write the introduction.
This week we covered how to express personal opinions in academic writing. Academic writing can include personal views, but they need to be presented in the right way.
Writing needs to provide enough background information so readers understand what you are talking about. Avoid absolute language such as “completely correct”. Instead, use hedging expressions like “initially” or “to some extent” to show you are not completely committed to a position.
Use other scholars’ views to support your argument. Cite examples or academic sources as evidence, which shows you have engaged with the academic discussion in this field. Use your subjectivity as a starting point for thinking, acknowledging that your views are shaped by personal experience and cultural background.
Finally, show how your views have developed, for example from “I initially thought” to “after further consideration”, allowing readers to see your thinking process.
In short, personal opinion is important in academic writing, but you need to provide background information, support your views with academic research, and show the development of your thinking.
This week we covered two research methods: quantitative and qualitative. Quantitative research explains phenomena using numbers and statistical data, seeking cause-effect relationships through deductive reasoning. Qualitative research does not rely on statistics; it focuses on process, context, and meaning, understanding problems through inductive reasoning.
The research process consists of four elements: epistemology determines what worldview guides the research, theoretical perspective decides what to study, methodology establishes the research strategy, and methods are the specific tools used.
Choosing which method depends on your research aims. Exploratory research is suitable for qualitative methods, using interviews to collect data. Confirmatory research is suitable for quantitative methods, using surveys and statistical analysis.
Methodology is the section of your paper that describes how you conducted the research and why. It should be written in the past tense. Research methods refer to the specific steps, while methodology is the entire chapter; they are different.
Critical thinking should be like a criminal investigation: thoroughly investigate the problem, support and challenge ideas, cross-examine the literature, and reach a conclusion based on evidence.
When writing a thesis, you must cite peer-reviewed academic sources such as books and journal articles. These can be accessed through UAL Library Services or Google Scholar. Do not cite personal blogs, film reviews, or YouTube videos unless they contain a specific animation that cannot be found elsewhere. The formatting should use 12-point Times New Roman or Arial font, with line spacing set to 1.5 or 2.0.
The language should be formal and objective. Avoid emotional language and sweeping generalisations. Instead, use qualifying adverbs such as some, several, a few, or many. Do not use first-person pronouns like I, my, or we. Instead, use passive voice or impersonal subjects. Avoid verbs that soften your argument, such as hope, believe, or feel. Do not use contractions, colloquial language, or slang. Avoid phrasal verbs and vague words like get, a lot, or nice. Your writing should be as concise and precise as possible.
When quoting or paraphrasing someone else’s ideas, you must clearly reference the source in your text. Use the Harvard referencing system, which requires the author’s surname, year, and page number in the text. Short quotations of up to three lines should be incorporated into your sentence with double quotation marks. Longer quotations should be indented with single spacing, with a blank line before and after, and no quotation marks.
The reference list should be arranged alphabetically by the author’s surname. Book titles and journal names should be italicised, while article titles should be in single quotation marks. For books, include the publisher and the publication date. For online sources, include the author, title, full URL, and the date you accessed the site. A filmography should follow the reference list, with film titles in italics and arranged alphabetically. The first time you mention a film, include the title, director, and year. The first time you mention a television character, include the actor’s name in brackets after the character’s name. For television programmes, include the original broadcast channel and date.
When choosing a topic, it should not be too broad or too narrow. A broad topic only allows for superficial coverage without deep analysis, while a narrow topic has an obvious answer and lacks research value. A good topic should be focused and intellectually challenging. The research question needs to be broken down into sub-questions to help structure the thesis. If you need to change the topic significantly after the proposal is approved, you must resubmit the proposal.
Research sources are divided into two types. Primary sources are original materials such as interviews, artworks, or original documents. Secondary sources are commentaries and analyses written by others. Every source has its own perspective, so you should not take things at face value. It is important to pay attention to the author’s position.
When taking notes, record the author, title, publisher, date, and page number. Direct quotes must be marked with quotation marks. Research has four stages: identifying what sources you need, making a schedule, reading with specific questions in mind, and setting a deadline to avoid endless research.
Evaluating information is very important. Academic writing should be precise and cautious, and sources need to be authoritative, credible, unbiased, and current. Books in university libraries are generally reliable, but you still need to be aware of the author’s perspective, such as feminism or Marxism.
When planning the thesis structure, do not organise it chronologically. Instead, build the structure around your argument. The title should be precise and concise, and the content should at least cover what the title promises.
This week covered the main forms of short narratives, including classic short stories (e.g., “The Gift of the Magi,” “The Lottery”), flash fiction (only a few paragraphs or sentences), and narrative essays (e.g., Joan Didion’s “Goodbye to All That”). Short narratives are characterized by brevity, a single focus, limited characters, direct storytelling, and a unified emotional effect.
Micro-narratives are extremely short stories that capture a single moment or emotion, making them ideal for social media, advertising, and research. They emphasize emotional core and relatability, contrasting with macro-narratives (myths, fables) by offering individual, zoomed-in perspectives.
Non-dialogue animation tells stories purely through visuals—body language, facial expressions, music, and sound effects—without spoken words. Types include silent animation, abstract animation, and music-driven animation (e.g., “Fantasia”). Notable examples include “Shaun the Sheep,” “Pingu,” “The Red Turtle,” and “Balance.” Key elements are visual storytelling, universal appeal, sound design, and artistic expression.
Task for this week:
1. On graduation which area or environment of production do you wish to focus upon and why?
I wish to focus on the area of stylised animation. The reason is that stylised animation can express emotion and narrative through exaggerated shapes, colours, and movement, making it more expressive and artistically distinctive than realistic animation. I am very interested in this form, as it allows me to create a unique visual language and emotional impact with limited production resources.
2. What skills will you need to attain the standards required for vocational practice?
I need to master the following skills: stylised character design, which means conveying character personality through techniques such as exaggeration, distortion, or abstraction; colour theory and visual language, using colour and shape to express emotion; animated performance, making characters feel lively and believable without relying on realism; and visual narrative structure, learning how to establish plot and emotion within a short timeframe. In addition, it is necessary to become proficient in animation software such as Blender, Maya, or After Effects.
3. How will you showcase your FMP practice for the final shows?
I plan to showcase a stylised animated short film, approximately two to three minutes long. Alongside the film, I will present visual development materials, including style exploration, character design sheets, colour scripts, and storyboards, allowing the audience to see the full process of creating a stylised animation from concept to final piece. If space permits, I may also set up a process wall to show the evolution of different style attempts.
4. Is it important to directly connect the thesis research to your practical work?
No, it is not important. I believe that theoretical research and practical work can be conducted relatively independently. Practical work relies more on intuition, aesthetic judgment, and experience, while thesis research can serve as a parallel direction of exploration. The two do not necessarily need to be directly linked.
5. Do you have an area of research you wish to conduct that is unrelated to practical element?
No, I do not. I wish to focus all my research energy on content that serves the practical work, ensuring that every part of my research directly or indirectly helps me complete my final animated piece.
This week’s lectures focused on how to choose a clear and manageable research topic and how to develop a strong academic argument. We learned that a good research question should be focused, researchable, and intellectually challenging, rather than too broad or too obvious. The topic should connect to art, design, or visual culture and sustain long-term interest.
The sessions also emphasised the importance of building an argument. Academic writing is not just descriptive but argumentative, requiring a clear position supported by credible evidence. Developing sub-questions, evaluating sources, identifying bias, and finding gaps in existing literature are essential steps in forming a convincing investigation.
The room has a bed, a cabinet, and disposable slippers — it looks like a normal hotel room. Two people are lying next to each other on a double bed. Everything in the room is arranged in a very neat and matching way.
But even though it looks clean and comfortable, the room doesn’t feel warm or welcoming. Instead, it feels cold and empty — just like the characters themselves, who seem lonely, worried, or deeply sad.
2. Costume, Hair & Make Up
The man in the image dressed in a dark jacket, a light-colored shirt, and brown trousers. His hair is graying, his face looks somewhat aged, and he has distinct dark circles under his eyes. The woman beside him has simple brown hair and is wearing an orange jacket and blue shorts. The two appear to be a middle-aged or elderly couple, both sharing a similar look of exhaustion and sadness, as if they have just completed a long journey or are weighed down by some unspoken burden.
3. Facial Expressions & Body Language
Although the two characters share a bed, a palpable emotional chasm lies between them. The man’s gaze is distant, the fatigue around his eyes evident, and his rigid posture reveals a deep sense of oppression. The woman, with her arms crossed in a defensive posture and a tense expression, communicates clear unease and wariness. Together, their demeanor and gestures vividly illustrate the profound emotional distance separating them.
4. Lighting and Colour
The picture uses soft indoor lighting and a warm but dim color scheme to create a calm yet heavy feeling. The milky-white and pink setting looks peaceful, but the difference in the characters’ clothing colors shows their emotional distance. This makes the whole scene, though soft and ordinary, feel lonely and detached.
5. Positioning of characters/objects within the frame
Two people lie flat on the bed, placed symmetrically with a clear space between them, showing their emotional distance. The bed is centered and acts as both the main focus and a divider. Slippers and a suitcase on the left add a realistic touch. The plain background and still, balanced layout make the whole scene feel lonely and emotionally detached.
6. What role does the shot choice (Cinematography) play in the scene.
The shot uses a high angle that looks down on the two characters in bed. This makes the viewer feel like an outsider, highlighting the distance and loneliness between them. The horizontal composition lines up the people and the camera with the bed, creating a very still image. This lack of movement makes the emotions feel stuck, showing their inner heaviness and stiff relationship.
The witch’s dungeon is dark and cluttered, filled with chains, skulls, and a bubbling cauldron, all exuding her malevolence.
When she finds Snow White and blocks the window, she severs the connection between Snow White and the outside world, turning the cottage into a confined trap.
This tense moment is intensified by the behavior of the animals: the small creatures flee in panic, while two vultures lurk nearby, waiting for an opportunity. These contrasting reactions foreshadow the impending danger.
2. Costume, Hair & Make Up
Snow White’s design embodies the classic Disney princess look. She wears a blue top and a bright yellow skirt, accented by a vibrant red bow in her hair. This color palette is cheerful and vivid, full of vitality and innocence. Her sleek black bob, snow-white skin, rosy cheeks, and clear, wide eyes make her appear innocent, kind, and somewhat vulnerable.
In contrast, the Witch’s design is thoroughly imbued with menace. She hunches over, shrouded entirely in a black cloak, with a hood covering most of her face. Her nose is sharply hooked like an eagle’s beak, topped with a wart, while her face is covered in wrinkles. Her hair is gray and unkempt, her eyes are sunken and dark, and her teeth are broken and missing. Above all, her gnarled hands and long, sharp, untrimmed nails directly reveal her ugliness and sinister nature.
3. Facial Expressions & Body Language
Snow White’s facial expressions and body language always show her innocence and vulnerability. Her clear, wide eyes, gentle brows, and soft smile all express a trust that has no guard.
Her movements are light and graceful. Even when the Witch forces her way in and blocks the window, Snow White only steps back slightly as if startled, her posture revealing complete passiveness and fragility.
In contrast, the Witch’s expressions and body language are full of fake drama and direct aggression. Her face switches quickly between a twisted fake smile and moments of exposed fierceness. Her movements are overly dramatic, especially her claw-like hands, which always move in an exaggerated and forceful way, pressing forward like a weapon, full of threat.
4. Lighting and Colour
In terms of color application, Snow White and her surroundings form a bright and harmonious world. She is dressed in highly saturated blue and yellow, while the small animals around her also boast rich and varied colors. The forest outside her window is full of life, bathed in sunlight.
All of this stands in sharp contrast to the witch and her symbolic companions: the witch is cloaked in dark attire, and her ravens and vultures are rendered in shades of gray and black. This use of low-saturation colors directly reflects her inner malice and cunning.
Lighting design further intensifies this opposition. The witch’s dungeon is dark and eerie, with the only visible light source seemingly coming from the cauldron where the poisoned apple is brewed. This faint, eerie light stretches and distorts the shadows of figures and objects, casting them onto the walls and creating a strong sense of horror.
In contrast, Snow White is positioned by a sunlit window, enveloped in warm, natural light. When the witch blocks the window with her body, her dark shadow instantly devours the light—a visual shift rich with symbolism, heralding the arrival of danger.
The poisoned apple shifts eerily from a ghostly green, symbolizing death and evil, to a vibrant red. This unnatural color transformation suggests the deadly danger lurking beneath its beautiful surface, while the ominous fluorescent glow further intensifies its deceptive nature.
5. Positioning of characters/objects within the frame
In terms of composition, the Witch consistently dominates the visual narrative. While brewing the poisoned apple, she is often positioned at the center of the frame, her exaggerated gestures aggressively occupying much of the pictorial space, asserting her control. When luring Snow White, she blocks the window with her body; her massive silhouette not only devours the light but also physically constricts Snow White’s living space, transforming the once-cozy cottage into a suffocating prison.
In stark contrast lies Snow White’s passivity. Her movements are restrained and timid, and her physical space is severely compressed by the Witch’s presence. Furthermore, the Witch’s motions frequently follow diagonal lines within the frame—an unstable compositional choice that intensifies her aggression and menace. Snow White, meanwhile, is often confined within stable horizontal or vertical structures, visually underscoring her powerlessness and entrapment.
6. What role does the shot choice (Cinematography) play in the scene.
In filming the Witch, the sequence extensively employs medium close-ups and extreme close-ups to precisely capture her grotesque expressions and exaggerated gestures, giving tangible form to the character’s malice and madness. Combined with sudden and rapid camera movements, her unpredictability and menacing presence are powerfully amplified.
When the Witch’s shadow envelops the cottage, the perspective deftly shifts to Snow White’s subjective viewpoint: the Witch’s distorted figure dominates most of the frame, transforming compositional aggression into palpable visual oppression and foreshadowing the arrival of doom.
Furthermore, the cinematography is not confined to the interior of the cottage. Through cross-cutting, the film interweaves reactions from the forest animals. The shots of birds fleeing in panic and vultures eagerly awaiting their opportunity create a microcosm of good versus evil. This technique not only heightens the tense and uneasy atmosphere but also uses nature as a metaphor to signal the impending crisis.
