Department of Literature, Film, and Theatre Studies

DEPARTMENTAL STYLE GUIDE

This guide should be used as the stylistic basis for all coursework submitted to the Department.
It describes good practice in all the aspects of formatting, quotation, and referencing that you are
likely to need to use, and adheres to widely recognised standards in scholarly writing. It is based
upon the Chicago style, further information on which can be found here:
http://www.chicagomanualofstyle.org/tools_citationguide.html

There is often a good deal of nervousness regarding academic style, particularly over
referencing. However, it is, for the most part, simply a case of following straightforward models,
which are described in this document. Nothing outlined here is particularly complex, so
following these guidelines should help you in submitting clear, well-referenced work. You
should always bear in mind that good, coherent style and accurate, properly formatted references
are vital research skills. As such, note that you can expect to lose marks if this style sheet is not
followed for second- and third-year and MA essays. By the end of your first year, you should be
a confident user of all the conventions.

QUOTATIONS

• Always make sure that your quotations are clearly identified as another’s words, cited in the
manner described in the ‘Referencing’ section, below.
• Short quotations do not need to be indented from your main text.
o Prose quotations of fewer than 50 words should be run on as part of the text, in
quotation marks.
o Two or three lines of verse should be run on with the lines separated by a forward
slash: e.g. “In the room the women come and go / Talking of Michelangelo”.
• Long quotations of more than 50 words, or of several lines of verse, dialogue, etc., should be
indented from the text, single-spaced, and not enclosed in quotation marks.
• If you wish to skip over part of a sentence you are quoting, indicate this by an ellipsis(. . .) or four
dots (full stop plus ellipsis) if you run over the end of a sentence. Explanatory words added by
you within quotations are indicated by square brackets.
• Make sure that you use punctuation to make your quotations fit in smoothly and logically
with your own prose.
o If the quotation begins a new sentence or distinct new point, a colon or full stop is
probably most appropriate: “Punctuation is as vital to strong writing as the words
used.”
o If the quotation continues the point, functioning as a new clause in a sentence,
“then a comma should be sufficient.”
• As well as correctly citing your quotation with a footnote, identify the source in your main
text, using such phrases as “As John Smith suggests”.
• Do not italicise quotations, unless the original text is italicised. If you use italics to
emphasise a particular word or phrase in a quotation, make this clear in square brackets [my
italics].

FOOTNOTES AND REFERENCES

You must ALWAYS acknowledge the source of:

• any direct quotation from a published work;
• any idea from a published work which has significantly influenced your argument, even if
you do not make a direct quotation;
• any repetition of material from another of your own essays;
• any other quoted or directly influential source, such as lecture notes, presentations, or
seminar discussions.

The rule of thumb for footnotes is to be brief and clear.

Please refer to the University webpages for information on plagiarism if you are at all unclear
about the definition: http://www.essex.ac.uk/plagiarism/

Footnotes and parenthetical citations: the basics

After quotation from, or reference to, any work, indicate a footnote by a raised number, thus.1

Footnotes should appear at the foot of the page to which they apply. Your word-processing
package will you allow to enter footnotes automatically (usually ‘Insert Footnote’), but pay
attention to the ‘Options’ menu (always choose Arabic numbering) and use ‘Format Style,
Footnote Text’ to arrange the notes in readable fashion.

Footnote formatting—general

Footnote formatting for citing book, journal, film, internet (and so on) sources generally follows
the very similar format as for bibliographical citations (see ‘Bibliography,’ below, for key
differences), except that the author name runs--forename surname--followed by citation details.
For instance,
1
Sigmund Freud, Civilization and Its Discontents [1929], trans. James Strachey (New York:
W.W. Norton, 1961), 79-80.

1
Full citation here.
If you are quoting from a source multiple times in the same essay, you can provide one footnote
with the citation details of the text, followed by the statement “subsequent page references in
text.” For example, footnote 1 might read:
1
Sigmund Freud, Civilization and Its Discontents [1929], trans. James Strachey (New York:
W.W. Norton, 1961), 79-80. Subsequent page references in text.

After this, page references for this text can go in parentheses after quotations:

Freud describes the word “civilization” as, “the whole sum of the achievements and the
regulations which distinguish our lives from those of our animal ancestors” (544).

Woolf’s novel concludes with the third section, “The Lighthouse,” where Lily’s memory of
Mrs Ramsey is reframed; Lily finds herself “tunnelling her way” into the past (355).

Citing dramatic works

The first footnote reference should cite author, title, place, publisher, date, page number (for
more detailed examples see below). Act and scene numbers should always appear in parentheses
after the quotation. No further footnote is needed for the same play, though further parenthetical
citations should indicate page, act, scene, and line numbers (if given) using the form (V.ii.19-22),
where the sequence of upper case Roman, lower case Roman, and finally Arabic signifies act V,
scene ii, lines 19-22.

Citing poetry

The first footnote should cite author, title, place, publisher, date, page number. Line numbers
should always appear in parentheses after the quotation. NO further footnote is needed for the
same poem, though further parenthetical citations should cite page and line number(s) (for
example: p. 12, l. 12). Multiple lines of a poetic work are signified by ‘ll.’ (for example, p. 12, ll.
12-15). Long poems, such as The Aeneid or The Faerie Queene are referenced by their internal
divisions into, for example, books and cantos and stanzas (III. x.12). Shorter poems are
referenced simply by line numbers (ll. 45-53).

Citing films

The first mention of all films in an essay should immediately be followed by a parenthetical
reference to the year in which it was released. For example, “In Alfred Hitchcock’s The Birds
(1963), Tippie Hedren plays Melanie Daniels …” Any direct quotation from a film does not
usually need to be cited, but a complete filmography can be included in the essay. See ‘F,’
below.
Footnote sample entries: from the Chicago Manual of Style (15th edition)
(more details can be found at: http://www.chicagomanualofstyle.org/tools_citationguide.html)

Book

One author
1
Wendy Doniger, Splitting the Difference (Chicago: University of Chicago Press, 1999), 65.

Two authors
6
Guy Cowlishaw and Robin Dunbar, Primate Conservation Biology (Chicago: University of
Chicago Press, 2000), 104–7.

Four or more authors

13
Edward O. Laumann et al., The Social Organization of Sexuality: Sexual Practices in the
United States (Chicago: University of Chicago Press, 1994), 262.

Author’s work as edited (scholarly) edition

1
Virginia Woolf, To The Lighthouse [1927], ed. Sylvia Hopstetter (London: Virago, 1985), 55.

Editor, translator, or compiler instead of author

4
Richmond Lattimore, trans., The Iliad of Homer (Chicago: University of Chicago Press, 1951),
91–92.

Edited, translated, or compiled poetry collection

4
Emily Dickinson, Collected Poems, ed. Lina Al Hadid (London: Routledge, 2010), 22.
16
Yves Bonnefoy, New and Selected Poems, ed. John Naughton and Anthony Rudolf (Chicago:
University of Chicago Press, 1995), 22.

Edited, translated, or compiled dramatic work

17
Jean Genet, The Balcony, trans. Bernard Frechtman (New York: Grove Press, 1966), 55.
30
William Shakespeare, The Tempest, in The Oxford Shakespeare, ed. Stanley Wells and Gary
Taylor (Oxford: Oxford University Press, 1995).

Chapter or other part of a book

5
Andrew Wiese, “‘The House I Live In’: Race, Class, and African American Suburban Dreams
in the Postwar United States,” in The New Suburban History, ed. Kevin M. Kruse and Thomas J.
Sugrue (Chicago: University of Chicago Press, 2006), 101-2.

Book published electronically

2
Philip B. Kurland and Ralph Lerner, eds., The Founders’ Constitution (Chicago: University of
Chicago Press, 1987), <http://press-pubs.uchicago.edu/founders> (accessed June 27, 2006).

Journal article (or individual poetic work)

Poem in collection
17
Forugh Farrokhzad, “Born Again,” trans. Jascha Kessler (with Amin Banani), The Penguin
Book of Women Poets, ed. Carol Cosman and Ivan Keefe (London: Penguin Books, 1996), 334.

Article in a print journal

8
John Maynard Smith, “The Origin of Altruism,” Nature v. 23, no. 2 (Summer 1998): 639.

Article in an online journal

33
Mark Hiroshi, “The Trials of Fanny Hill,” Journal of British Studies v. 15, no. 5 (Autumn
2002), <http://jama.aassn.org/issues/v15n5/rfull/joc10108.html>

Popular magazine or newspaper article

29
Steve Martin, “Sports-Interview Shocker,” New Yorker, 6 May 2002, 84.
10
William S. Niederkorn, “A Scholar Recants on His ‘Shakespeare’ Discovery,” New York
Times, 15 June 2000, sec B, 3.

Book review
1
James Gorman, review of The Last American Man by Elizabeth Gilbert, New York Times Book
Review, 2 June 2002, 16.

Spoken lecture (or seminar)

5
Jonathan White, lecture on Dracula (Bram Stoker), University of Essex, 15 December 2009.

Paper presented at a meeting or conference

13
Brian Doyle, “Howling Like Dogs: Metaphorical Language in Psalm 59” (paper presented at
the annual international meeting for the Society of Biblical Literature, Berlin, Germany, 19 June
2009).

Websites

Web entry or comment

8
Peter Pearson, “The New American Dilemma: Illegal Immigration,” The Becker-Posner Blog,
<http://www.beckerposnerblog.com/archives/2006> (accessed 28 March 2006).

Online database
7
Pliny the Elder, The Natural History, ed. John Bostock and H. T. Riley, The Perseus Digital
Library, <http://www.perseus.tufts.edu> (accessed 17 March 2005).
BIBLIOGRAPHY

Whether or not you have referred to them directly, list at the end of an essay all the books and
articles you have consulted. Bibliographies are arranged in alphabetical order by author with,
the author’s surname given first.

Bibliography formats: from the Chicago Manual of Style (15th edition)

(more details can be found at: <http://www.chicagomanualofstyle.org/contents.html>)

Book

One author
Doniger, Wendy. Splitting the Difference. Chicago: University of Chicago Press, 1999.

Two authors
Cowlishaw, Guy, and Robin Dunbar. Primate Conservation Biology. Chicago: University of
Chicago Press, 2000.

Author’s work as edited (scholarly) edition

Woolf, Virginia, To The Lighthouse [1927]. Ed. Sylvia Hopstetter. London: Virago, 1985.

Editor, translator, or compiler instead of author

Lattimore, Richmond, trans. The Iliad of Homer. Chicago: University of Chicago Press, 1951.

Edited, translated, or compiled poetry collection

Dickinson, Emily. Collected Poems. Ed. Lina Al Hadid. London: Routledge, 2010.

Bonnefoy, Yves. New and Selected Poems. Ed. John Naughton and Anthony Rudolf. Chicago:
University of Chicago Press, 1995.

Edited, translated, or compiled dramatic work

Genet, Jean. The Balcony. Trans. Bernard Frechtman. New York: Grove Press, 1966.

Shakespeare, William. The Tempest. In The Oxford Shakespeare. Ed. Stanley Wells and Gary
Taylor. Oxford: Oxford University Press, 1995.

Chapter or other part of a book

Wiese, Andrew. “‘The House I Live In’: Race, Class, and African American Suburban Dreams
in the Postwar United States.” In The New Suburban History, ed. Kevin M. Kruse and Thomas J.
Sugrue, 99-119. Chicago: University of Chicago Press, 2006.

Book published electronically

Kurland, Philip B., and Ralph Lerner, eds. The Founders’ Constitution. Chicago: University of
Chicago Press, 1987. <http://press-pubs.uchicago.edu/founders>
Journal article (or individual poetic work)

Poem in collection
Farrokhzad, Forugh. “Born Again.” Trans. Jascha Kessler (with Amin Banani). The Penguin
Book of Women Poets. Ed. Carol Cosman, Ivan Keefe. London: Penguin Books, 1996: 53-4.

Article in a print journal

Smith, John Maynard. “The Origin of Altruism.” Nature v. 393, no. 2 (1998): 639-50.

Article in an online journal

Mark A. Hiroshi, “The Trial of Fanny Hill.” Journal of British Studies v. 32, no. 5 (Autumn
2002). <http://jama.ama-assn.org/issues>

Popular magazine or newspaper article

Martin, Steve. “Sports-Interview Shocker.” New Yorker, 6 May 2002: 35-43.
Niederkorn, William S. “A Scholar Recants on His ‘Shakespeare’ Discovery.” New York Times,
20 June 2002, sec. 3: 12-13.

Book review
Gorman, James. Review of The Last American Man by Elizabeth Gilbert. New York Times Book
Review, 2 June 2002: 2.

Spoken lecture (or seminar)

White, Jonathan. Lecture on Dracula (Bram Stoker). University of Essex, 15 December 2009.

Paper presented at a meeting or conference

Doyle, Brian. “Howling Like Dogs: Metaphorical Language in Psalm 59.” Paper presented at the
annual international meeting for the Society of Biblical Literature, Berlin, Germany, 19 June
2009.

Websites

Web entry or comment

Pearson, Peter. “The New American Dilemma: Illegal Immigration.” The Becker-Posner Blog.
<http://www.becker-posner- blog.com>.

Item in online database

Pliny the Elder. The Natural History. Ed. John Bostock and H. T. Riley. Perseus Digital Library.
<http://www.perseus.tufts.edu/cgi-bin/ptext>.
Filmography

Model one: After the first direct reference to a film in an essay, a footnote should appear which
includes the following information: the film title, director’s name, two or three of the principal
players, the studio or production company that released it, and the year. Further citations are not
necessary. For example:

Grease, dir. Randal Kleiser, feat. John Travolta, Olivia Newton-John (Paramount, 1978).

Model two: Rather than a footnote, the essay can simply quote directly from the film without
any references. It should, however, present a filmography at the end of the document, which
includes: the film title, director, principal players, the studio or production company, and the year
of release. For example:

Guys and Dolls, dir. Joseph L. Mankiewicz, feat. Marlon Brando, Jean Simmons, Frank Sinatra
(Twentieth-Century Fox, 1955).

REFERENCING IN CREATIVE WRITING COMMENTARIES

Referencing for creative writing commentaries should be done in the same way as for essays.
Creative work itself does not usually require referencing. If references are used, students are
advised to follow the departmental style guide or, where this interferes with the aesthetic of the
writing, to consult their tutor.