Course Plan and Syllabus 2015 Course Code: ISSHF2415

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1 Course Plan and Syllabus 2015 Course Code: ISSHF2415 Course Name: Scandinavian Film Genres Adriana Margareta Dancus, Associate Professor, University of Agder Jenny Jacobsen, MA, University of Oslo, and freelance film journalist Time: (daily sessions) Place: Auditorium 4, Eilert Sundts hus Date Time Topic/ Readings/ Lecturer Readings Week 1, Margareta Dancus, The Scandinavian Way: The Medium Concept Film Introduction: Film 22 Genres/Margareta Dancus Tillsammans/Together (Lukas Moodysson, 2000) The Medium Concept Film in Scandinavia/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, Routledge: Taylor & Francis Group, Nestingen, Andrew. Medium Concept. Scandinavian Genre and Art Film Hybrids. In Crime and Fantasy in Scandinavia. Fiction, Film and Social Change, Seattle: University of Washington, Visit at the Norwegian Film Institute in Dronningens gate 16 Brødre/Brothers (Susanne Bier, 2004) Stenport, Anna W. Local and Global. Lukas Moodysson and Memphis. In Swedish Film: An Introduction and Reader, edited by Mariah Larsson and Anders Marklund, Lund: Nordic Academic Press, Shriver-Rice, Meryl. Adapting National Identity: Ethical Borders Made Suspect in the Hollywood Version of Susanne Bier's

2 Week 2, Margareta Dancus, Brothers. Film International 9, no. 2 (2011): The Others Within: The Sami Film and the Migrant Film Race and Ethnicity in Nichols, Bill. Race and Ethnicity in Film. 29 Film/Margareta Dancus In Engaging Cinema. An Introduction to Film Studies, New York: W.W. Norton & Company Ltd., Før snøen faller/before Snowfall (Hisham Zaman, 2013) Naficy, Hamid. Situating Accented Cinema. In An Accented Cinema. Exilic and Diasporic Filmmaking, 3-39.Princeton, New Jersey: Princeton University Press, Week 3, Margareta Dancus, Hand in topics for student presentations The Migrant Film in Norway/Margareta Dancus Kautokeino-opprøret/The Kautokeino Rebellion (Nils Gaup, 2008) The Sami Film/Margareta Dancus Feedback on topics for student presentations Fictionalizing Real Others: The Hybrid Film Documentary, Fiction and the 06 Hybrid Film/Margareta Dancus Play (Ruben Östlund, 2011) Ethics and Performance in the Hybrid Film/Margareta Dancus 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, Farnham: Ashgay Publishing Limit, Dancus, Adriana Margareta. Ghosts Haunting the Norwegian House: Racialization in Norway and The Kautokeino Rebellion. Framework 55, 1 (Spring 2014): 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, Jefferson, North Carolina, and London: McFarland & Company, Inc., Publishers. Stigsdotter, Ingrid. When to push stop or play : The Swedish reception of Ruben Östlund s Play (2011). Journal of

3 No Classes: Long Weekend -- 9 No Classes: Long Weekend Week 4, Jenny Jacobsen, Dogme 13 Dogme 95: the Vow of Chastity, the Dogme Brethren and the Style that Conquered the World/Jenny Jacobsen Scandinavian Studies 3, 1 (2013): 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, McGraw-Hill: Open University Press, 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, Detroit: Wayne State University Press, Festen/The Celebration (Thomas Vinterberg, 1998) Discussion of The Celebration/Jenny Jacobsen 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, Santa Monica: Santa Monica Press LLC, Gaut, Berys. Naked Film: Dogma and its Limits. In Purity and Provocation. Dogma 95, edited by Mette Hjort and Scott MacKenzie, London: British Film Institute, Week 5, Jenny Jacobsen, Feedback on student presentations Realism and Humanism in Dogme. A Historic View on Dogme/Jenny Jacobsen Italiensk for begyndere/italian for beginners (Lone Scherfig, 2001) 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, Santa Monica: Santa Monica Press LLC, Hjort, Mette. A Different Kind of Feel Good Movie. In Lone Scherfig s Italian for Beginners, Seattle: University of Washington Press, 2010.

4 Horror 20 The Horror Genre/Jenny Jacobsen Cherry, Brigid. The Horror Genre: Form and Function. In Horror, London and NewYork: Routledge Film Guidebooks, Week 6, Jenny Jacobsen, Conclusion :00 Student Presentations Setting in the Mood in the Scandinavian Horror Movies/Jenny Jacobsen Fritt vilt/cold Prey (Roar Uthaug, 2006) The Vampire Film and the Use of Folklore in the Scandinavian Horror Genre/Jenny Jacobsen Låt den rätte komma in /Let the Right One In (Tomas Alfredson, 2008) Conclusion, Requirements Home Exam and Questions/Jenny Jacobsen Hand in home examination by 15:00 Tudor, Andrew. Narratives. In Monsters and Mad Scientists. A Cultural History of the Horror Movie: Oxford: Basil Blackwell, Sipos, Thomas M. Mise-en-scène. In Horror Film Aesthetics. Creating the Visual Language of Fear, North Carolina: McFarland & Company, Inc., Carroll, Noël. Film Emotion, and Genre. In Passionate Views, Film, Cognition and Emotion, edited by Carl Plantinga and Greg M. Smith, Baltimore, Md.: Johns Hopkins University Press, Winestock, Jeffrey. Introduction: Vampire Cinema. In The Vampire Film: Undead Cinema, New York: Columbia University Press, Wright, Rochelle. Vampire in the Stockholm Suburbs: Let the Right One In and Genre Hybridity. Journal of Scandinavian Cinema 1, no. 1 (2011):

5 Reading List Articles and book chapters in printed compendia handed out on first day of classes 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, Farnham: Ashgay Publishing Limit, 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, Routledge: Taylor & Francis Group, Carroll, Noël. Film Emotion, and Genre. In Passionate Views, Film, Cognition and Emotion, edited by Carl Plantinga and Greg M. Smith, Baltimore, Md.: Johns Hopkins University Press, Cherry, Brigid. The Horror Genre: Form and Function. In Horror, London and NewYork: Routledge Film Guidebooks, Dancus, Adriana Margareta. Ghosts Haunting the Norwegian House: Racialization in Norway and The Kautokeino Rebellion. Framework 55, 1 (Spring 2014): Gaut, Berys. Naked Film: Dogma and its Limits. In Purity and Provocation. Dogma 95, edited by Mette Hjort and Steve MacKenzie, London: British Film Institute, Hight, Craig. Mockumentary: A Call to Play. In Rethinking Documentary. New Perspectives, New Practices, edited by Thomas Austin and Wilma de Jong, McGraw-Hill: Open University Press, Hjort, Mette. A Different Kind of Feel Good Movie. In Lone Scherfig s Italian for Beginners, Seattle: University of Washington Press, Naficy, Hamid. Situating Accented Cinema. In An Accented Cinema. Exilic and Diasporic Filmmaking, 3-39.Princeton, New Jersey: Princeton University Press, Nestingen, Andrew. Medium Concept. Scandinavian Genre and Art Film Hybrids. In Crime and Fantasy in Scandinavia. Fiction, Film and Social Change, Seattle: University of Washington, Nichols, Bill. Race and Ethnicity in Film. In Engaging Cinema. An Introduction to Film Studies, New York: W.W. Norton & Company Ltd., 2010 Schepelern, Peter. Film according to Dogma: Ground Rules, Obstacles, and Liberations. InTransnational Cinema in a Global North: Nordic Cinema in Transition, edited by Andrew Nestingen and Trevor Elkington, Detroit: Wayne State University Press, 2005.

6 Sipos, Thomas M. Mise-en-scène. In Horror Film Aesthetics. Creating the Visual Language of Fear, North Carolina: McFarland & Company, Inc., 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): Stenport, Anna W. Local and Global. Lukas Moodysson and Memphis. In Swedish Film: An Introduction and Reader, edited by Mariah Larsson and Anders Marklund, Lund: Nordic Academic Press, 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, Santa Monica: Santa Monica Press LLC, 2003 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, Santa Monica: Santa Monica Press LLC, 2003 Stigsdotter, Ingrid. When to push stop or play : The Swedish reception of Ruben Östlund s Play (2011). Journal of Scandinavian Studies 3, 1 (2013): Tudor, Andrew. Narratives. In Monsters and Mad Scientists. A Cultural History of the Horror Movie: Oxford: Basil Blackwell, 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, McGraw-Hill: Open University Press, Winestock, Jeffrey. Introduction: Vampire Cinema. In The Vampire Film: Undead Cinema, New York: Columbia University Press, Wright, Rochelle. Vampire in the Stockholm Suburbs: Let the Right One In and Genre Hybridity. Journal of Scandinavian Cinema 1, no. 1 (2011):