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Usually a guide of this nature focuses on the actual implementationof the research. This is not the focus of this guide. Instead of examiningsuch aspects as identifying appropriate sample size, field testing theinstrument and selecting appropriate statistical tests, this guide looksat many of the quasi-political aspects of the process. Such topics as howto select a supportive committee, making a compelling presentation of yourresearch outcomes and strategies for actually getting the paper writtenare discussed.
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A poster presentation combines text and graphics to present your project in a way that is visually interesting and accessible. It allows you to display your work to a large group of other scholars and to talk to and receive feedback from interested viewers.
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Apart from completing the paper itself, creating strong arguments and tailoring all the information according to your needs, you also need to think of the fonts and colors, quantity of slides and lots of additional details. That is why many students are looking for presentation assistance or at least access to a presentation outline example to make sure they are going in a right direction.
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It is now exciting to see how many scholars arebeginning to do production of culture work on contemporary Hollywood—boththe film and television sectors, for instance, John Thornton Caldwell’s ProductionCulture andVicki Mayer, Miranda J. Banks, and Caldwell’s Production Studies: CulturalStudies of Media Industries. Differences do exist between these volumesand the project of CHC. I was focused on the past ratherthan contemporary practices. While I used interviews published in tradepapers, I did not engage in ethnographic research: most of my subjectswere elderly or deceased. Moreover, I was trying to capture the discursiveestablishment of the production practices ca. 1915, not 1980, and we know howsuspect individual memories can be for oral history. The current productionof culture work indicates that little has changed in the Hollywood mode of productionand its discourses in the past ninety years. The talk amongst workers andtheir labor practices continue to be crucial in understanding how films and televisionprograms are financed and created. Variations also need to be studied,of course, but a strong sense of what remains the same and what differs offersa growth of knowledge and a historical account. Trying to tie togetherwork of the 1910s and 1920s with the present excitement about these questionsis an important and worthwhile research project.