Pensum/l?ringskrav

Litteratur merket * er tilgjengelig i kompendium.

Litteratur merket + er tilgjengelig elektronisk.

Fellesdel

Arne Engelstad og Elise Seip Tønnesen, Film – en innføring (Oslo: Cappelen Damm Akademisk, 2011). 243 sider.

Robert A. Rosenstone, History on Film / Film on History (2012 [2006]).

Tilsammen ca. 450 sider

Middelalderen på film

Andrew B.R. Elliott, Remaking the Middle Ages (2011) s. 1-222 222 sider

Excalibur (John Boorman 1981)

*Norris J. Lacy, Mythopoeia i Excalibur,i Cinema Arthuriana ed. Kevin J. Harty (rev. ed 2010), 34-41

+Sir Thomas Malory, King Arthur and of his Noble Knights of the Round Table, Kapittel 1 og 2, 1 side (fritt tilgjengelig elektronisk)

Monty Python and the Holy Grail (Terry Gilliam and Terry Jones 1975)

*David D. Day, Monthy Pyton and the Holy Grail: Madness with a Definite Method, i Excalibur,i Cinema Arthuriana ed. Kevin J. Harty (rev. ed 2010), 127-134

*Donald L. Hoffman, Not Dead Yet: Monthy Python and the Holy Grail, i Excalibur,i Cinema Arthuriana ed. Kevin J. Harty (rev. ed 2010), 136-147

The Vikings (Richard Fleischer 1958)

*Kathleen C. Kelly, ”The Trope of the Scopic in The Vikings”, i The Vikings on Film ed. Kevin J. Harty (2011), 9-21

+Utdrag fra Ragnar Lodbroks Saga, kap 15-17, 5 sider (fritt tilgjengelig elektronisk)

The 13th Warrior (John McTiernan 1999)

*Elisabeth Sklar, Call of the Wild: Culture Shock and Viking Masculinities in The 13th Warrior”, i The Vikings on Film ed. Kevin J. Harty (2011), 121-132

+Ibn Fadlan, Brev om Vikingene, 2 sider (fritt tilgjengelig elektronisk)

+Beowulf, utdrag fra Beowulf, kap. 3 linje 190 til 257, 1 side (fritt tilgjengelig elektronisk, merk at det finnes mange ulike oversettelser av Beowulf-kvadet)

The Return of Martin Guerre (Daniel Vigne 1982)

Natalie Z. Davis, The Return of Martin Guerre, (1984), 1-72 og 82-103.

Til sammen 371 sider

Krig og sivilisasjonssammenbrudd (1914-1945)

* Jonathan F. Vance, Death So Noble: Memory, Meaning, and the First World War (Vancouver: University of British Columbia Press, 2000 [1997]), 3-11.

* David Stevenson, “Conclusion: The War Becomes History” i Stevenson, 1914-1918. The History of the First World War (London: Penguin, 2005 [2004], 587-601.

+ Peter Englund, “Vestfronten nu och då”, Tidsskriftet Vi, våren 1997., 9. oktober 2012, ca. 13-15 sider.

*Ian Kershaw, “Historians and the Problem of Explaining Nazism” i Ian Kershaw, The Nazi Dictatorship. Problems and Perspectives of Interpretation (London: Arnold, 2000 [1985]), 1-19 (kap. 1).

* Aaron Kerner, Film and the Holocaust. New Perspectives on Dramas, Documentaries, and Experimental Films (New York: Continuum Books, 2011), 1-58 (intro. + kap. 1 + 2).

* Anna Reading, “Young people’s viewing of Holocaust films in different cultural contexts”, i Toby Haggith og Joanna Newman (red.), Holocaust and the Moving Image. Representations in Film and Television since 1933 (London: Wallflower, 2005), 211-216.

All Quiet on the Western Front (Lewis Milestone, 1930)

* Andrew Kelly, “The Greatness and Continuing Significance of All Quiet on the Western Front”, i Robert Eberwein (red.): The War Film (New Brunswick, NJ: Rutgers University Press, 2004), 23-29.

* John Whiteclay Chambers II, “All Quiet on the Western Front: The Antiwar Film and the Image of Modern War” i John Whiteclay Chambers II (red.), World War II, Film, and History (New York: Oxford University Press, 1996), 13-30.

Passchendaele (Paul Gross, 2008)

Norman Leach, Passchendaele: Canada’s Triumph and Tragedy on the Fields of Flanders. An Illustrated History (Regina: Coteau Books, 2008). 47 sider.

+ John R. Grodzinski, “The Use and Abuse of Battle: Vimy Ridge and the Great War over the History of the First World War”, Canadian Military Journal, 10:1 (2009), 83-86.

Stalingrad (Joseph Vilsmaier, 1993)

*Robert C. Reimer, “Picture-Perfect War. An Analysis of Jospeh Vilsmaier’s Stalingrad (1993)” i Randall Halle og Margaret McCarthy (red.), Light Motives: German Popular Film in Perspective (Wayne State University Press, 2003), 304-325.

+ Elisabeth Krimmer, “More War Stories. Stalingrad and Downfall“, i Jaimey Fisher og Brad Prager (red.), The Collapse of the Conventional.German Film and its Politics at the Turn of the Twenty-First Century (Detroit: Wayne State University Press, 2010), 81-108.

Schindler's List (Steven Spielberg, 1993)

* Barbie Zelizer, “Every Once in a While. Schindler’s List and the Shaping of History”, i Yosefa Loshitzky (red.), Spielberg's Holocaust: Critical Perspectives on Schindler's List (Bloomintgton: University of Indiana Press, 1997), 18-39.

+ Christoph Classen, “Balanced Truth: Steven Spielberg’s Schindler’s List among History, Memory, and Popular Culture”, History and Theory 47 (2009), 77-102.

+ Michael Wildt, “ The Invented and the Real: Historiographical Notes on Schindler's List”, History Workshop Journal 41 (1996), 240-249.

Inglourious Basterds (Quentin Tarantino, 2009)

+Ben Walters, “Debating Inglourious Basterds”, Film Quarterly, 63:2 (2009), 19-21.

+Steinmetz, John, “’As Close as We Get to Going to the Movies’: The Problem of Evil in Schindler's List and Inglourious Basterds”, Western Political Science Association 2011 Annual Meeting Paper. 13 sider.

+Daniel Mendelsohn, “Inglourious Basterds: When Jews Attack”, Newsweek, 13. august 2009, 72-73.

+David Cox, “Inglourious Basterds is cinema's revenge on life”, Guardian 20. august 2009.

Der Untergang (Oliver Hirschbiegel, 2004

+Christine Haase, “Ready for his close-up? Representing Hitler in Der Untergang (Downfall, 2004)“, Studies in European Cinema 3:3, 189-199.

+Tudor Georgescu, “Hitler’s Downfall Revisited“, Totalitarian Movements and Political Religions, 7:3 (2006), 371-377.

*Matthew Boswell, “Downfall: The Nazi Genocide as a Natural Disaster”, Holocaust Studies. A Journal of Culture and History,17:2-3 (2011) [Special Issue: Representing Perpetrators in Holocaust Literature and Film], 165-184. 37 sider.

Sider i sum: Fellesdel 450, middelalder 371, 1914-45 356 sider. Totalt 1177