In citing film and other media, use the citation form for the format in which you watched the work being cited. For example:
You may include other data that seem pertinent, such as writer of screenplay or writer of work upon which the film is based, depending on the focus of your research.
Citizen Kane. Dir. Orson Welles. Perfs. Orson Welles, Joseph Cotten. RKO Radio Pictures, 1941.
Fahrenheit 9/11. Dir. Michael Moore. Lions Gate Films, 2006.
Kazan, Elia, dir. On the Waterfront. Perfs. Marlon Brando, Lee J. Cobb, Rod Steiger, Eva Marie Saint. Columbia Pictures Corporation, 1954.
Karloff, Boris, perf. Frankenstein. Dir. James Whale. Perfs. Boris Karloff, Colin Clive, Mae Clark. Universal Pictures, 1931.
Gore, Al, perf. An Inconvenient Truth. Dir. Davis Guggenheim. Lawrence Bender Productions, 2006.
Rozsa, Miklos, comp. Spellbound. Dir. Alfred Hitchcock. Perfs. Ingrid Bergman, Gregory Peck. United Artists, 1945.
Breathless (À Bout de Souffle). Dir. Jean-Luc Godard. Perfs. Jean-Paul Belmondo, Jean Seberg, Liliane David. 1960. DVD. Criterion Collection, 2007.
Frankenstein. Dir. James Whale. Perfs. Boris Karloff, Colin Clive, Mae Clark. 1931. DVD. Universal Pictures, 2006.
Metropolis. Dir. Fritz Lang. Perfs. Gustav Fröhlich, Brigitte Helm, Alfred Abel. 1926. DVD. Restored authorized edition; digitally remastered. Kino International Corporation, 2002.
Capote, Truman. "A Christmas Memory." Hallmark Hall of Fame. Dir. Glenn Jordan. Perf. Patty Duke, Piper Laurie, Jeffrey DeMunn. 1997. DVD. Lions Gate, 2000.
Single Performance, Music Videos, and Other Single Work as part of longer DVD, Video, or Film
- or, if emphasizing issuing agency:
- US Office of War Information. "Official War Film W.F. 13." World War II Films. 1943. DVD. Earthstation1.com, 2007.
or, if emphasizing the performers:
Television and Radio
- Include the following elements in the following order.
- Title of episode or segment (if appropriate. In quotes)
- Title of program (italics)
- Title of series (if appropriate. No quotes or underline)
- Producer, Director, Performers, Writer (if known. Inclusion and order depends on emphasis)
- Local Affiliate and the city
- Date of Broadcast
- Title of program (italics)
Order and punctuation:
Web Other Online Media
There are a few different ways it may be necessary to quote dialogue from a novel or other literary work in an essay.
1) If you are using any narrative or stage directions in your quote to prove your point along with your dialogue, the narrative will be surrounded by double quotation marks and the dialogue will be surrounded by single quotation marks.
For example: When Mr. Bennet spelled out the necessities of formal introduction, "The girls stared at their father. Mrs. Bennet said only, 'Nonsense, nonsense!'" (Austen, Pride and Prejudice, Pemberly.com). Note, that because the exclamation mark is a part of the dialogue, it goes inside to the single quotation mark. Also note that the quote is ended with a double quotation mark and there is no space between single quotation mark and the double.
2) If what you are quoting in your essay to prove your point is a line of dialogue by itself, then you can treat the dialogue like any other text quoted and only surround it with double quotation marks.
For example: Mrs. Bennet demonstrates her designs on Mr. Bingley when she declares, "Oh! single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a fine thing for our girls!" (Austen, Pride and Prejudice, Pemberly.com).
3) If to prove your point in your essay you want to quote a whole dialogue exchange, you can treat it as a block quote. For a block quote, you leave off the quotation marks, indent every line of the paragraph so that it stands alone in your essay as one single block, and add the reference after the period. For example:
In the novel Pride and Prejudice, the early exchange between Mr. and Mrs. Bennet demonstrates just how silly Mrs. Bennet is and how Mr. Bennet teases her:
What is his name?
Is her married or single?
Oh! single, my dear, to be sure! A single man of large fortune; four or five thousand a year. What a fine thing for our girls!
How so? how can it affect them?
My dear Mr. Bennet...how can you be so tiresome! You must know that I am thinking of his marrying one of them. (Austen, Pride and Prejudice, Pemberly.com)
Note, that in the third line I used an ellipse to cover up some narrative that, if left in the quote, would have made the punctuation more complex and awkward.
4) Finally, if you are quoting dialogue that is more than three lines long and from the same speaker, you would also use a block quotation.