Academic skills
Week Thirteen, 14. 12. 2022
Project Presentation Seminar II: Referencing
Dr. Šárka Gmiterková

Agenda
•Structure
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•The importance of referencing
•Learning how to reference at MUNI (Faculty of Arts)
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•Targeted Learning Outcome
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•How and why we reference our work

Why do we reference our work?
•What do you reference?
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•Where in your paper would you put references to the work/sources you have used?
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•Is there something which does not need referencing?
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•Is there something like „over-referencing“?

What are you referencing?
•Monography is a non-serial publicaton, which systematically and in detail investigates a narrow
topic (or an aspect of a topic); it is thoroughly documented.
•Edited volume/edited collection does not investigate the topic in such detail, with individual
contributions being only loosely connected and could exist as pieces/articles/chapters on their
own. In contrast to collective monography, this is not a joint piece of work by multiple authors,
but a collection of contributions signed by authors, who did not cooperate on the outcome.
•Readers do not bring original research outcome as well as previously unpublished work. They are
compillations of previously published papers (or extracts thereof).
•Academic articles are to be found in scholarly, peer-reviewed journals.
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How do we reference?
Direct quotation, paraphrasing, summarising
•Direct quotation – transfering the original words of the author and organicaly incorporating them
into your explanation.
•Paraphrasing – expressing the original idea of the author with our own words.
•Summarising – expressing the original idea of the author with our own words while shortening and
concentrating the original length (leting out specific details and examples).
•Whatever style we choose, we always have to reference the author and his/her ideas we used for the
purposes of our own investigation and explanation!

Examples: direct quotation
•Original text:
•„The importance of publicity is that, in its apparent or actual escape from the image that
Hollywood is trying to promote, it seems more ‚authentic‘. It is thus often taken to give a
privileged access to the real person of the star. It is also the place where one can read tensions
between the star-as-person and her/his image, tensions which at another level become themselves
crucial to the image (e.g. Marilyn Monroe’s attempts to be considered something other than a dumb
blonde sex object, Robert Redford’s ,loner‘ shunning of the attention his star status attracts.“1
1.DYER, Richard. Stars. London: BFI, 1998, p. 61.
•Incorporating Dyer’s words into my writing:
•In contrast to promotion, managed by studio or the star herself, publicity exists outside of these
official discourses. According to Richard Dyer it can provide us with a „[…] privileged access to
the real person of the star.”1 Publicity stems from unauthorized articles and images, scandals,
discussions on social media both on the celebrity profiles or outside of them, or websites or blogs
dedicated to nudity, sexual misconducts, power abuse or so-called blind items (in fact gossips).
1.DYER, Richard. Stars. London: BFI, 1998, p. 61.
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•

Examples: Summarising
•Original text:
•„The importance of publicity is that, in its apparent or actual escape from the image that
Hollywood is trying to promote, it seems more ‚authentic‘. It is thus often taken to give a
privileged access to the real person of the star. It is also the place where one can read tensions
between the star-as-person and her/his image, tensions which at another level become themselves
crucial to the image (e.g. Marilyn Monroe’s attempts to be considered something other than a dumb
blonde sex object, Robert Redford’s ,loner‘ shunning of the attention his star status attracts.“1
1.DYER, Richard. Stars. London: BFI, 1998, p. 61.
•
•Incorporating Dyer’s words into my writing:
•Publicity can, but does not have to, offer insight into the real star, outside of the official
promotional activities or discourses. According to Dyer, its main point is to expose the tensions
between the constructed star image and the more or less authentic person behind the image.1
1.DYER, Richard. Stars. London: BFI, 1998, p. 61.
•

Examples: Paraphrasing
•Original text:
•„The importance of publicity is that, in its apparent or actual escape from the image that
Hollywood is trying to promote, it seems more ‚authentic‘. It is thus often taken to give a
privileged access to the real person of the star. It is also the place where one can read tensions
between the star-as-person and her/his image, tensions which at another level become themselves
crucial to the image (e.g. Marilyn Monroe’s attempts to be considered something other than a dumb
blonde sex object, Robert Redford’s ,loner‘ shunning of the attention his star status attracts.“1
1.DYER, Richard. Stars. London: BFI, 1998, p. 61.
•Incorporating Dyer’s words into my writing:
•Publicity is crucial, because it can (although not always does) provide us with access to the
person behind the image. Through publicity we are able to see celebrity persona as a genuine human.
But not only that, it also allows us to see contradictory forces operating at the core of the
image. For example in Marilyn Monroe‘s parallel existence as a sex object and an ambitious actress,
as well as in Robert Redford‘s regular escapes from public visibility.1
1. DYER, Richard. Stars. London: BFI, 1998, p. 61.

Bibliography referencing system
MUNI, Faculty of Arts
•Variation of Harvard Referencing system, with footnotes/endnotes and a bibliography list
consistiong of primary and secondary sources used, analyzed or consulted while working on the
thesis and then the paper
•In case of monographies you need to include name of the author, full name of the book, city of
publishing, name of the published and year of the publishing. In case you are referencing only
certain pages or parts of the book, always include a page (pages).
•Examples:
•KOVÁCS, András Bálint. Screening Modernism. European Art Cinema, 1950–1980. Chicago and London:
Chicago University Press, 2007, pp. 322–329.
•OWEN, Jonathan L. Avant-Garde to New Wave. Czechoslovak Cinema, Surrealism and the Sixties. New
York and Oxford: Berghahn books, 2011.

Bibliography referencing system
MUNI, Faculty of Arts
•In case of chapters from edited collections you need to include name of the author, name of the
chapter, but also name of the editor of the collection, full name of the book, city of publishing,
name of the publishing house and year of the publishing. You always include paging.
•Example:
•YU, Sabrina Qiong. Dancing With Hollywood: Re-Defining Transnational Chinese Stardom. In: Andrea
Bandhauer a Michelle Royer (eds.): Stars in World Cinema: Screen Icons and Star Systems Across
Cultures. London and New York: I. B. Tauris, 2015, p. 104–116.
•

Bibliography referencing system
MUNI, Faculty of Arts
•In case of articles from (not only) peer-reviewed journals you need to include name of the author,
name of the article, but also name of the journal, its volume, number, year of publsihing the
article and paging.
•Example:
•GMITERKOVÁ, Šárka (2016): Betrayed by Blondness: Jiřina Štěpničková between authenticity and
excess. Journal of Celebrity Studies. 2016, vol. 7, no. 1 (The Blonde Issue), pp. 45–57.
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Take-aways
•When writing any academic output, we always build upon, argue with or employ the work of other
scholars.Therefore we should continuously reference our sources and make a list of all those we
have used at the end of our essay.
•Why do we reference?
•We prove, that we have consulted, used and analysed primary and secondary sources and our claims
are based upon existing material.
•We can orient ourselves in the academic field of our choosing.
•Anyone can trace back all of our primary and secondary sources.
•If we use any primary and/or secondary sources, our work risks being labelle as plagiarized.
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