94Or, perhaps adding another layer of subordination, by actually including the sub-text (the details under each category), as I’ve done with the “characters” bubble, below: However, as noted in the preceding chapter, when one is analyzing cinematic texts, one must also pay attention to non-diegetic and extra-diegetic elements, since those often work even more powerfully (and subliminally) than the narrative elements. This means that even if I gather ample diegetic evidence, as apparent in the mind map below, I will still need to step back and think about the way lighting, sound, cinematography, and/or editing reinforce this sense of equality. Because I’ve already begun clustering my characters and settings as elements under the “diegetic” topic, it makes sense for me to use parallel categories for my other topic or topics. In this case, one obvious choice would be to have three major supporting bubbles: diegetic elements, non-diegetic elements, and extra-diegetic elements. (This is only one way to divide up your main supporting topics; as long as you find a way to address at least one non-diegetic and at least one extra-diegetic elements, you can cluster your ideas in whatever way makes sense to you, as long as it really does make sense.)
95Your mind-map might be as detailed or as skeletal as time permits; just realize that it is a gathering tool, not a blueprint of your essay. Use it to begin identifying your main supporting topics (Ts), under which you will classify the relevant evidence as you begin to build ideas (SEEs). Once you can see the main supporting topics and the central evidence, you will be able to articulate a working-thesis. Indeed, while engaging in the process of gathering and clustering evidence, most writers arrive at a hypothesis, as well as a sense of how they’re going to test or prove it. For instance, having begun with the topic of “equality” and reflected upon how this commercial sells equality both explicitly (by way of hyper-democratized, diversified characters and settings) and implicitly (by way of cinematography and editing), I might state my working thesis as follows: What?I think that this ad sells the iPhone6 as a handheld equalizing device that will allow forward-thinking young urbanites across the world to join together in the co-creation of an ethically, emotionally, and economically vibrant community in which there are no caves full of prisoners. How so?I’m going to focus on characters and setting first, to see how they bridge ethical, emotional, and economic vibrancy. Then I’ll look at how the 22 CU/BCUs of the hands+iPhones and, maybe, eye-level shots and/or subjective shots interweave these three value-systems (ethics, emotions, and economics). Finally, I’ll look at the way all the short-duration shots + cross-cuts + intercuts blend everything in a kind of undifferentiated space-time continuum.