Schedule

Introduction: Film

Genres/Margareta Dancus

Bordwell, David and Kristin Thompson.

“Chapter 9: Film Genres.” In Film Art: An

Introduction. New York: McGrawn Hill,

2010, ninth edition.

Bordwell, David. “The Art Cinema as a

Mode of Film Practice.” In Poetics of

Cinema, 151-70. Routledge: Taylor &

Francis Group, 2008.

Tillsammans/Together (Lukas

Moodysson, 2000)

The Medium Concept Film in

Scandinavia

Nestingen, Andrew. “Medium Concept.

Scandinavian Genre and Art Film Hybrids.”

In Crime and Fantasy in Scandinavia.

Fiction, Film and Social Change, 48-98.

Seattle: University of Washington, 2008.

Stenport, Anna W. “Local and Global. Lukas

Moodysson and Memphis.” In Swedish

Film: An Introduction and Reader, edited by

Mariah Larsson and Anders Marklund, 325-

33. Lund: Nordic Academic Press, 2010.

Visit at the Norwegian Film

Institute in Dronningens gate 16

Brødre/Brothers (Susanne Bier,

2004)

Shriver-Rice, Meryl. “Adapting National

Identity: Ethical Borders Made Suspect in

the Hollywood Version of Susanne Bier's

Brothers.” Film International 9, no. 2

(2011): 8-19.

Race and Ethnicity in Film

Nichols, Bill. “Race and Ethnicity in Film.”

In Engaging Cinema. An Introduction to

Film Studies, 325-58. New York: W.W.

Norton & Company Ltd., 2010.

Naficy, Hamid. “Situating Accented

Cinema.” In An Accented Cinema. Exilic and

Diasporic Filmmaking, 3-39.Princeton, New

Jersey: Princeton University Press, 2001.

Før snøen faller/Before

Snowfall (Hisham Zaman, 2013)

Hand in topics for student

presentations

The Migrant Film in Norway

Bakøy, Eva. “From Lonely Guest Workers

to Conflict-ridden Diasporas: a Historical

Survey of Norwegian Migrant Cinema.” In

Media in Motion: Cultural Complexity and

Migration in the Nordic Region, edited by

Elisabeth Eide and Kaarina Nikune, 145-62.

Farnham: Ashgay Publishing Limit, 2011.

Kautokeino-opprøret/The

Kautokeino Rebellion

(Nils Gaup, 2008)

The Sami Film

Feedback on topics

Dancus, Adriana Margareta. “Ghosts

Haunting the Norwegian House:

Racialization in Norway and The Kautokeino

Rebellion.” Framework 55, 1 (Spring 2014):

121-39.

Documentary, Fiction and the

Hybrid Film

Lipkin, Steven N., Derek Paget and Jane

Roscoe. “Docudrama and Mock-

Documentary: Defining Terms, Proposing

Canons.” In Docufictions. Essays on the

Intersection of Documentary and Fictional

Filmmaking, 11-26. Jefferson, North

Carolina, and London: McFarland &

Company, Inc., Publishers.

Play (Ruben Östlund, 2011)

Ethics and Performance in the

Hybrid Film/

Stigsdotter, Ingrid. “’When to push stop or

play’: The Swedish reception of Ruben

Östlund’s Play (2011).” Journal of

Scandinavian Studies 3, 1 (2013): 41-8.

Ward, Paul. “Drama-documentary, Ethics

and Notions of Performance: The ‘Flight 93’

Films.” In Rethinking Documentary. New

Perspectives, New Practices, edited by

Thomas Austin and Wilma de Jong, 191-

203. McGraw-Hill: Open University Press,

2008.

Dogme 95: the Vow of

Chastity, the Dogme Brethren

and the Style that Conquered

the World/

Schepelern, Peter. “Film according to

Dogma: Ground Rules, Obstacles, and

Liberations.” In Transnational Cinema in a

Global North: Nordic Cinema in Transition,

edited by Andrew Nestingen and Trevor

Elkington, 73-107. Detroit: Wayne State

University Press, 2005.

Stevenson, Jack. “The Dogme Manifesto”

and the “Vow of Chastity.” In Dogme Uncut.

Lars von Trier, Thomas Vinterberg and the

Gang That Took on Hollywood, 21-23. Santa

Monica: Santa Monica Press LLC, 2003.

 Jenny Jacobsen

Festen/The Celebration

(Thomas Vinterberg, 1998)

Gaut, Berys. “Naked Film: Dogma and its

Limits”. In Purity and Provocation. Dogma

95, edited by Mette Hjort and Scott

MacKenzie, 89-101. London: British Film

Institute, 2003.

Discussion of The

Celebration

Feedback on student

presentations

Realism and Humanism in

Dogme. A Historic View on

Dogme

Stevenson, Jack. “John Cassavetes, Jean-Luc

Godard, and the Gang That Influenced

Dogme.” In Dogme Uncut. Lars von Trier,

Thomas Vinterberg and the Gang That Took

on Hollywood, 25-49. Santa Monica: Santa

Monica Press LLC, 2003.

Italiensk for

begyndere/Italian for

beginners (Lone Scherfig,

2001)

Hjort, Mette. “A Different Kind of Feel

Good Movie.” In Lone Scherfig’s Italian for

Beginners, 173-216. Seattle: University of

Washington Press, 2010.

The Horror Genre

Cherry, Brigid. “The Horror Genre: Form

and Function.” In Horror, 1-52. London and

NewYork: Routledge Film Guidebooks,

2009.

Tudor, Andrew. “Narratives.” In Monsters

and Mad Scientists. A Cultural History of the

Horror Movie: 81-105. Oxford: Basil

Blackwell, 1989.

Student Presentations

Setting in the Mood in the

Scandinavian Horror

Movies

Fritt vilt/Cold Prey (Roar

Uthaug, 2006)

Sipos, Thomas M. “Mise-en-scène.” In

Horror Film Aesthetics. Creating the Visual

Language of Fear, 31-70. North Carolina:

McFarland & Company, Inc., 2010.

Carroll, Noël. “Film Emotion, and Genre.”

In Passionate Views, Film, Cognition and

Emotion, edited by Carl Plantinga and Greg

M. Smith, 21-48. Baltimore, Md.: Johns

Hopkins University Press, 1999.

The Vampire Film and the Use

of Folklore in the Scandinavian

Horror Genre/

Winestock, Jeffrey. “Introduction: Vampire

Cinema.” In The Vampire Film: Undead

Cinema, 1-19. New York: Columbia

University Press, 2012.

Låt den rätte komma in /Let

the Right One In (Tomas

Alfredson, 2008)

Wright, Rochelle. “Vampire in the

Stockholm Suburbs: Let the Right One In

and Genre Hybridity.” Journal of

Scandinavian Cinema

1, no. 1 (2011): 55-70.

Conclusion, Requirements

Home Exam and

Questions/

30.07.15
Thursday

Hand in home examination by

15:00