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

Br?dre/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.

F?r sn?en faller/Before

Snowfall (Hisham Zaman, 2013)

Hand in topics for student

presentations

The Migrant Film in Norway

Bak?y, 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-oppr?ret/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 ?stlund, 2011)

Ethics and Performance in the

Hybrid Film/

Stigsdotter, Ingrid. ¡°¡¯When to push stop or

play¡¯: The Swedish reception of Ruben

?stlund¡¯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-sc¨¨ne.¡± In

Horror Film Aesthetics. Creating the Visual

Language of Fear, 31-70. North Carolina:

McFarland & Company, Inc., 2010.

Carroll, No?l. ¡°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.

L?t den r?tte 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