Screening Report 9: The Godfather

1. Relate what was discussed in class or the text to the screening.
Grossing over $250 million and winning three Academy Awards, The Godfather has been acknowledged by critics and audiences alike as one of the best films to grace the silver screen. The movie features Marlon Brando in his award-winning mob boss role, donning both heavy makeup and heavy speech to become "The Don." Al Pacino, while only nominated for Best Supporting Actor, takes a lead role for most of the second half of the film by taking over the family business for his father.

The startling transformation of Marlon Brando into Vito Corleone

2. Find a related article and summarize the content.
The Rutgers University Department of American Studies features a piece called "Religion and the Italian-American Family in The Sopranos and The Godfather" written by Vincent Velasquez. The essay analyzes the relationship between mafia characters in the two media and the connection to their Catholic backgrounds. Overwhelmingly, the author references the dichotomy between the acts of The Mob and the expectations of the Church to which they belong.

3. Apply the article to the film screened in class.
The most obvious connection between the mafia and the Church is the title used by the head of mob families like the Corleones: "Godfather." In Catholicism, a godfather is a man who protects a child from evil, temptation, and vows to guide the child into The Church. In the mob, a godfather plays "God" as well as "father," using his influence to kill people who threaten the well-being of either the family or the business of which he protects.

Michael Corleone contemplates his Godfather duties

An instance of this double meaning and of the hypocritical nature of the mob is displayed during the baptism of Michael Corleone's godson. The scene cuts between shots of the baptism in the church and of the murders that Michael has ordered on the four other gangsters. As Velasquez puts it, "[t]he ritual is the official act of naming him Godfather, but the murders are a representation of him stepping into that same title as the role of leader in his crime family".


4. Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material, and the article.
I was pleasantly surprised at how entertaining I found this film. I have often been pestered to watch The Godfather as a fellow Coppola, but refused because I find violence pretty boring. What I didn't know about The Godfather is that, while the central theme tying the plot together is life in a crime syndicate, the character development along the way helped to romanticize their antics enough for my enjoyment. Michael Corleone's evolution from anxious, unwilling accessory to glorified mob boss made me fascinated by the character; he provokes a mixture of sympathy, attraction, and disgust that had me vying for more. The film wove a fantastic, but incomplete story, and I plan to watch The Godfather II during winter break to fill the curiosity in me that the first installment left.

Bibliography

•  Coppola, Francis Ford (Director). Ruddy, Albert S. Ruddy (Producer). 15 March 1972. The Godfather [Motion Picture]. United States: Paramount Pictures.
•  Velasquez, Vincent. "Religion and the Italian-American Family in The Sopranos and The Godfather."

CHECKLIST FOR PLAGIARISM   1) (X) I have not handed in this assignment for any other class.   2) (X) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper.   3) (X) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text.   4) (X) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper.   5) (X) I have cited in the bibliography only the pages I personally read.   6) (X) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography.   7) (X) I did not so over-use direct quotations that the paper lacks interpretation or originality.   8) (X) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Alison Coppola
Date: 12/10/15

Screening Report 8: The Graduate

1. Relate what was discussed in class or the text to the screening.

2. Find a related article and summarize the content.

In Rob Nixon's analysis Why The Graduate Is Essential,

3. Apply the article to the film screened in class.

4. Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material, and the article.

Bibliography

• Nichols, Mike (Director). 21 December 1967. The Graduate [Motion Picture]. United States: Embassy Pictures.
• Nixon, Rob. Why The Graduate Is Essential. Retrieved from http://www.tcm.com/tcmdb/title/18530/The-Graduate/articles.html

CHECKLIST FOR PLAGIARISM 1) (X) I have not handed in this assignment for any other class. 2) (X) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper. 3) (X) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text. 4) (X) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper. 5) (X) I have cited in the bibliography only the pages I personally read. 6) (X) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography. 7) (X) I did not so over-use direct quotations that the paper lacks interpretation or originality. 8) (X) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Alison Coppola
Date: 11/19/15

Screening Report 7: Touch of Evil

1. Relate what was discussed in class or the text to the screening.

2. Find a related article and summarize the content.

3. Apply the article to the film screened in class.

4. Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material, and the article.

It was startling to find out that Orson Welles, who was once given almost complete creative control over Citizen Kane, struggled to have conrol over his art during the production of Touch of Evil.

Bibliography

• Sarat, Austin, Umphrey, Martha Merrill. "The Justice of Jurisdiction: The Policing and Breaching of Boundries in Orson Welles' "Touch of Evil"".
• Welles, Orson (Director). 21 May 1958. Touch of Evil [Motion Picture]. United States: Universal-International

CHECKLIST FOR PLAGIARISM 1) (X) I have not handed in this assignment for any other class. 2) (X) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper. 3) (X) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text. 4) (X) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper. 5) (X) I have cited in the bibliography only the pages I personally read. 6) (X) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography. 7) (X) I did not so over-use direct quotations that the paper lacks interpretation or originality. 8) (X) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Alison Coppola
Date: 11/12/15

Screening Report 5: Citizen Kane

1. Relate what was discussed in class or the text to the screening.

Citizen Kane has clearly left its mark on American film history. The film received nine Oscar nominations, and its creator, Orson Welles, received four. Primarily inspired by the life of William Randolph Hearst, the main plot device, "Rosebud," has famously confused and intrigued audiences generations later. It is unique in many ways, from its twist, to the lighting and camera techniques used to film scenes, and of course its non-linear storyline. Orson Welles' willingness to explore his role as auteur no doubt helped establish Citizen Kane as one of the best films of all time.

2. Find a related article and summarize the content.

As noted in The Guardian's page "The Mystery of Rosebud - Explanation", the twist ending of Citizen Kane, where it is revealed that "Rosebud" was the name of Kane's childhood sled, did not seem to answer many of the questions that its existence stirred. Some have speculated as to it's deeper meaning: Does it symbolize a longing for childhood innocence? Is it a dirty joke at Hearst's expense? I made my own conclusions about Rosebud's meaning after viewing the film.

3. Apply the article to the film screened in class.

The audience is initially led to believe that the word "Rosebud," the last thing Charles Foster Kane uttered before his death, is a significant clue in unshrouding the mysterious newspaper tycoon's life. Reporter Jerry Thompson sets out to solve its meaning by interviewing key players in Kane's life. Throughout the interviews, Thompson explores facets of the protagonist's existence as explored by each narrator, but his main focus is always on one thing: Rosebud. Despite speaking to associates Bernstein and Leland, second wife Susan Alexander, and butler Raymond, the reporter cannot decipher the word's meaning or its significance to Kane. When discussing his fruitless efforts, he ponders:

"Anyway, it wouldn't have explained anything... I don't think any word can explain a man's life. No, I guess Rosebud is just a... piece in a jigsaw puzzle... a missing piece." - Jerry Thompson, Citizen Kane

Thompson was insightful enough to realize that Rosebud was not the end-all be-all that would explain the deepest corners of Kane's mind, and yet he was not self-aware enough to realize that the people he interviewed were veritable sources of insight into that very man. If he wanted to know what really made Kane tick, he didn't need Rosebud for that; he just needed to listen more closely to the information he collected from the millionaire's closest consorts.

 

The article goes as far as calling Rosebud a McGuffin, explaining:

"But, as with so much in life, perhaps the real answer to the mystery of Rosebud is the most straightforward. Alfred Hitchcock coined the term McGuffin to mean an item of immense importance to the characters, at the centre of the plot, but which "to me, the narrator, [is] of no importance whatsoever". (The Guardian)

Rosebud was essentially a distraction. It was the distraction that the world wanted, and the buzzword that Thompson needed. Rosebud, had its meaning been profound and discovered, would have been part of the perfect headline. It's ironic that Kane, who was notorious for sensationalist journalism, had people desperately trying to dig up his inner-most secrets in death.

4. Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material, and the article. 

The twist was a clever way to move the plot along. I didn't even realize until the end that the jigsaw puzzles Susan was so fond of were representative of Kane's life. What really struck me was Orson Welles' participation in most aspects of the film. He is listed as the director, producer, writer, and actor in Citizen Kane and the scope of his influence is mind-boggling. Being an auteur, while artistically fulfilling as one has control over most aspects of the film, cannot be easy to accomplish.

As the lead actor, Welles even "aged" with his character through very convincing special effects makeup. There were times while watching where I completely forgot that it was a 25-year-old in prosthetics. Even though I knew better, my mind did not see a young man portraying an old man; it saw an old man portraying Charles Foster Kane. 

 

Bibliography

• The Guardian. "The Mystery of Rosebud - Explanation".
• Welles, Orson (Director). 1 May 1941. Citizen Kane [Motion Picture]. United States: Mercury Productions

CHECKLIST FOR PLAGIARISM   1) (X) I have not handed in this assignment for any other class.   2) (X) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper.   3) (X) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text.   4) (X) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper.   5) (X) I have cited in the bibliography only the pages I personally read.   6) (X) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography.   7) (X) I did not so over-use direct quotations that the paper lacks interpretation or originality.   8) (X) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Alison Coppola
Date: 10/22/15

Screening Report 4: Gone with the Wind

1. Relate what was discussed in class or the text to the screening.
Gone with the Wind is one of the highest-grossing films of all time, despite being four hours long. Yet, its length did nothing to slow the action of the film; scenes were paces perfectly, the plot moved effectively, and there was never a dull moment. The Technicolor dream won more than a handful of Oscars due to its masterful storytelling, and Vivien Leigh won the Best Leading Actress nomination as the disdainful Scarlett O'Hara.

2. Find a related article and summarize the content.
The book Bullies, Bastards, & Bitches by Jessica Page Morrell addresses how to write a rounded yet wholly unlikable character. In twelve chapters, the author approaches the different archetypes that the audience is drawn to hate, including villains, sociopaths, bad boys, bitches, demons, monsters, and bullies. Making your characters perform "bad" acts is not enough to keep an audience interested and engaged; instead, the writer or director must keep the behavior consistent to the character's motivation.

3. Apply the article to the film screened in class.

It's not often that one of the most popular award-winning films features a grating and unlikable protagonist, but Gone with the Wind pulls it off. Scarlett O'Hara may look like a lady, but she refuses to fit into her expected mold. She is headstrong, pushy, brash, selfish, and independent. Scarlett is an anti-hero in a sea of Southern gentlemen and belles (p. 361). Morrell explains what encompasses such a character:

 

Infamous O'Hara glare



"A bitch anti-hero doesn't always bother to be nice, because she'd rather be real; she is often after power, and she refuses to be a victim." (p. 337)

This one sentence sums up many facets of Scarlett's personality, both good and bad. On one hand, she can and will do what is necessary to get what she desires. On the other hand, she is willing to compromise her integrity and the feelings of whom she is close. She follows a different set of ethics and social expectations than the rest of Georgian society.
 
For example, one enduring theme is Scarlett's obsession with Ashley Wilkes, the much older heir of Twelve Oaks. From the beginning of the film until near the end, she continues to hold hope that Ashley will one day be hers. Miss O'Hara soon marries Ashley's cousin and brother-in-law, Charles Hamilton, just to be closer to Ashley. She continually throws herself at Ashley, forcing him to kiss her in emotional times and coos promises of children if he runs away with her to Mexico. She even pursued him as his wife Melanie Wilkes lay dying just meters away. Scarlett is a predator wrapped in taffeta and velvet.
 
O'Hara has no problem manipulating people for her own advantage. She marries men for what they can give her and uses prison labor to build her lumber empire. But our anti-hero's persistence fuels her survival as well. Her famous words while standing atop her ravaged home:

"I'm going to live through this and when it's all over, I'll never be hungry again. No, nor any of my folk. If I have to lie, steal, cheat or kill. As God is my witness, I'll never be hungry again." - Scarlett O'Hara

And she does just that. Here, she refuses to let herself be a victim and harnesses her own power. She shows her capabilities throughout the film from delivering Melanie's baby by herself, to escaping a burning city, and finally by picking cotton in the fields with little complaint. Scarlett always had the determination and ability to do what was right and necessary, but her unwillingness to stay on the right path is what makes her so much more dislikable.
 
4. Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material, and the article.
I liked that Scarlett was an entertaining main character yet caused so much disdain. It was interesting to see her contrasted against Melanie, whose sweet and forgiving demeanor constantly reminded us of her sister-in-law's sour attitude. While it was difficult to "root" for Scarlett and the South, there were times when Scarlett and her brethren experienced hardship and death that made me pity them and hope to see them safe. The dysfunctional love story between Scarlett and various men almost seemed deserving at the end. She was destined never to find love because she'd abused the feelings of others so many times through the years.

Bibliography

• Fleming, Victor (Director). Selznick, David O. (Producer). 15 December 1939. Gone with the Wind [Motion Picture]. United States: MGM
• Morell, Jessica Page (2008). "Bullies, Bastards, & Bitches: How to Write the Bad Guys of Fiction."

CHECKLIST FOR PLAGIARISM   1) (X) I have not handed in this assignment for any other class.   2) (X) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper.   3) (X) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text.   4) (X) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper.   5) (X) I have cited in the bibliography only the pages I personally read.   6) (X) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography.   7) (X) I did not so over-use direct quotations that the paper lacks interpretation or originality.   8) (X) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Alison Coppola
Date: 10/15/15

Screening Report 3: Stagecoach

1. Relate what was discussed in class or the text to the screening.
When discussing Western films, it's difficult not to mention Stagecoach. The 1939 film featured John Wayne, a name that would later become synonymous with the most recognized face in Western movies; his trend of playing unwavering gunslingers continued decades after his first role. Director John Ford's formula for the successful movie included ideas influenced by his religious convictions: the traditional roles of men (dominant) and women (submissive), the struggle between good (the Americans) and evil (the Apaches, financial institutions), and redemption (Dallas leaving prostitution, the Kid getting his revenge).

2. Find a related articles and summarize the content.
A short essay entitled "The Promotion of Masculinity in Western Films" by John Timko briefly examines how masculinity is represented in the Western film genre. Not only does he surmise that masculinity is celebrated, but he explains that the ultra-masculine representations of cowboys also works to undermine the role of women as passive characters who need saving. Timko goes on to say that:

"Westerns have been expressly created to encourage men to hold on to their masculinity when it is threatened by modern society." (p. 3)

He argues that the often heroic frontiersmen possess skills to handle the Wild West allow them be dominant in their settings. They rarely speak in comparison to the other characters; the absence of dialogue gives their actions much more meaning (p. 4). Their lifestyle contrasts that of men who lead white-collar lives like bankers and businessmen, who are not usually portrayed on screen in a positive light. Thus masculinity is represented by a narrow definition: an outdoorsy man who lives dangerously, shoots guns like a pro, and rarely shows emotion.

3. Apply the article to the film screened in class.

Pictured: Harlot with a shrieking voice.

Pictured: Doting wife and insufferable character.

Stagecoach prominently displays an extreme difference in gender roles and expectations. For example, there are only two developed characters in the film who are women, and their representations greatly differ. Dallas, who follows the "hooker with a heart of gold" archetype, has been cast out of town for being just that: a prostitute. Her entire story revolves around her seedy past and her attempts to hide that part of her life from the hero of the story. We then have Mrs. Mallory, the woman who has traveled countless days and thousands of miles to see her husband who is serving out West in a battle against the Apaches. She is presumed to be pregnant for the entirety of the daunting journey, a journey that would be tiring for the average person, but would be especially stressful for a woman in that condition. Thus, there are only two worthwhile female characters with no middle ground; the doting, loyal wife and the woman scorned by society (who is eventually saved from her ways by the hero).

We then meet the star of the movie, the Ringo Kid. He is out for vengeance, determined to get it, and most certainly will with his gun prowess. He is the ultimate man, stoic even in the most stressful of times. Whether he is under attack or under arrest, his emotions never bubble past the surface, as this would compromise his rough, masculine exterior. Despite his tough personality, he falls in love with prostitute Dallas and asks for her hand in marriage. He is the fairy tale White Knight of American folklore, arriving on horseback, risking his own life to save others, and acquiring a damsel in distress along the way. Don't forget, he never breaks a sweat and does this while handcuffed half the movie. The Kid is an example of male perfection: intimidating, courageous, attractive, and emotionally distant.

4. Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material, and the article.
I had difficulty suspending my disbelief and immerse myself for many parts of the movie. It seemed implausible to me that a woman so far along in her pregnancy would be tempted to ride across the country in a stagecoach, even if it was to see her husband. Dallas also came off as overdramatic in times of emotion, possibly to contrast the Ringo Kid's completely emotionless personality. Alas, the acting at times struck me as either cold or over the top (quite like the representations of the characters themselves). I overall found the characters inhuman, like robots programmed to act like real people but ultimately unable to completely trick the viewer.

Through a modern lens, it's also difficult to ignore the stereotypes of Native Americans that are seen in this film and other Westerns. The racism is obvious, perhaps to reflect the feelings of the time of the film's settings, but when Native Americans are consistently portrayed as the villains of American history to be extinguished, it starts to feel less like "historical accuracy."

Bibliography

• Ford, John (Director). 15 February 1939. Stagecoach [Motion Picture]. United States: United Artists.
• Timko, John. "The Promotion of Masculinity in Western Films".

CHECKLIST FOR PLAGIARISM   1) (X) I have not handed in this assignment for any other class.   2) (X) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper.   3) (X) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text.   4) (X) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper.   5) (X) I have cited in the bibliography only the pages I personally read.   6) (X) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography.   7) (X) I did not so over-use direct quotations that the paper lacks interpretation or originality.   8) (X) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Alison Coppola
Date: 10/1/15

Screening Report 2: It Happened One Night

1. Relate what was discussed in class or the text to the screening.
The emotions caused by interpersonal tensions are the foundation for the screwball comedy, and It Happened One Night fits comfortably within this genre. Clark Gable and Claudette Colbert play characters from two different worlds; Peter Warne is a struggling alcoholic reporter, while Ellie Andrews is the spoiled princess of Wall Street. Neither can stand each other and inevitably fight in every scene, but it appears that in screwball comedies, opposites attract. The class differences allowed each to learn something from the other: Peter to be more emotional and Claudette to be more practical (Foster, p. 126). Not only this, but the intense situations that the duo struggled through together acted as a bond that led to a budding romance.

2. Find a related articles and summarize the content.
One subject that kept appearing in my research about this film was the Motion Picture Production Code, often known as the "Hays Code." As explained by Tim Stanley in his article "Speaking in Code", these guidelines set by the Motion Picture Producers and Distributors of America were originally created as a form of industry self-censorship to prevent the government from stepping in and infringing on artistic integrity, but it "would end with Hollywood censoring itself" (p. 21). The following excerpt provides examples of the kinds of portrayals that the Hays Code sought to extinguish and why:

"It clamped down on depictions of 'pointed profanity', 'any inference of sex perversion', 'suggestive nudity', 'childbirth', 'brutality', 'sedition' and 'ridicule of the clergy' -- and it urged promotion of wholesome, American values that would improve the morals of the audience." (p. 21)

The code, while restrictive, was rarely enforced for the first few years of its inception. It wasn't until shortly after It Happened One Night was released in 1934 that films were forced to adhere to those specific standards. Thus, this movie was still able to straddle the fine line that was created to uphold morality among film audiences with rather bold-for-its-time expressions of sexuality. Movies that came after 1934 could not really show nudity or sex, so they began to utilize innovative ways to show the sensuality of a scene. The article discusses Alfred Hitchcock's 1946 film Notorious and the sneaky way he directed Cary Grant and Ingrid Bergman to kiss:

"... the rule was that no kiss could last more than three seconds. So Cary Grant and Ingrid Bergman kissed for two seconds, broke away, kissed, broke away, kissed again and so on for what felt like an eternity of sexual tension." (p. 23)

Rules cause the determined to find loopholes, and the intimacy of that scene, despite being within standards, provides a source of protest to the censorship that caused it.

3. Apply the article to the film screened in class.
Would It Happened One Night have passed the Hays Code criteria had it been released later in the year? Let's examine some of the more risqué scenes the film provided.


This was one of the first scenes to ease the audience out of their comfort zone, featuring Peter Warne explaining the male undressing routine to an uncomfortable Ellie Andrews. A man about to take off his pants in front of a woman to whom he is not married would have been taboo in 1934, despite the fact that his actions were meant to scare Ellie across the room.

Here, the roles are reversed from before, as Ellie successfully uses her gams to stop traffic. The delicate sensibilities of the MPPDA would likely have found this action too suggestive for audiences, and a sign of moral decline.

The "Wall of Jericho" was a recurring symbol in the movie that was actually meant to uphold morality rather than tear it down for the better part of the film. This blanket helped protect the unwed characters' decencies from each other, but also served as a blaring metaphor in the final scene when Peter plays the horn to tear down the "wall"; yes, audience, this marriage is about to be consummated.

 

Three strikes, in my opinion, means the film would have needed major re-writes and editing to be deemed acceptable by the MPPDA.

4. Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material, and the article.
To a modern audience, this film causes no eyebrows to be raised. But to Depression-era audiences, It Happened One Night had the potential to cause discomfort with some of its scenes. Despite its attempts to push boundaries, I think this film would have had the same popularity and entertainment value had it followed the Hays Code. As a romantic comedy, the film held its own with the chemistry between leads Clark Gable and Claudette Colbert, as proven by the film's Academy Award win for both Best Actor and Best Actress (Foster, p. 127). The pair's back-and-forth bickering, eyerolling antics, and sprinklings of conversations about donuts and piggyback rides connected the characters to each other and to the audience more effectively than suggestive scenes ever could.

Bibliography 

• Capra, Frank (Producer & Director). 22 February 1934. It Happened One Night [Motion Picture]. United States: Columbia Pictures.
• Foster, William R. (2009). Early Film History. Dubuque, IA: Kendall Hunt.
• Stanley, Tim. (2014). Speaking in Code. History Today, 64(10), 19-25.  

CHECKLIST FOR PLAGIARISM   1) (X) I have not handed in this assignment for any other class.   2) (X) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper.   3) (X) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text.   4) (X) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper.   5) (X) I have cited in the bibliography only the pages I personally read.   6) (X) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography.   7) (X) I did not so over-use direct quotations that the paper lacks interpretation or originality.   8) (X) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Alison Coppola
Date: 9/24/15