UGS 303: Nordic Light: Scandinavian Cinema from the Silent Era to the 2000s Fall 2010

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1 UGS 303: Nordic Light: Scandinavian Cinema from the Silent Era to the 2000s Fall 2010 Prof. Lynn Wilkinson, Instructor Burdine 360 Office Hours: MW 2-3 and by appointment Kevin Sanson, T.A. Burdine 366 Office Hours: M 11:30-12:30; W11-12 Lectures MW in Parlin 301 Film Showings M 6-9 pm in Burdine 130, unless otherwise announced Discussion Sections: F 12 (unique # 64465) in Jester A305A F 1 (unique # 64470) in Garrison F 2 (unique # 64475) in Burdine 228 COURSE DESCRIPTION: Ingmar Bergman is perhaps the best known Scandinavian filmmaker, but Northern Europe has a remarkable tradition of filmmakers and filmmaking. Focusing on films from Sweden and Denmark, this course will provide an introduction to some of the masterpieces of Scandinavian film from the Golden Age of silent film through the 2000s and to the culture of Scandinavia. There are no examinations in this course. Instead, there are five two-page papers, due every three weeks or so over the course of the semester, weekly quizzes, and one oral presentation. We will also be discussing issues related to writing at the university and to research. You may rewrite two of your short papers and keep only the higher of the two grades for the assignment. Since this is a Signature Course, we will be including other activities at or around the University. You will be required to attend one of the university lectures in early October and a performance of Shakespeare s A Midsummer Night s Dream by the Actors from the London Stage in late September. We will also visit the Harry Ransom Humanities Research Center. ASSIGNMENTS AND GRADING: - Five two-page papers (10% each = 50%; two papers may be rewritten to replace a lower grade); a description of the paper assignments follows the syllabus/course schedule - weekly quizzes (25%; there are no make-up quizzes, but students may drop their lowest grade); quizzes will be held at the beginning of class, so be sure to come on time! - evaluated class discussions of the lecture and performance (5%) - one ten-minute oral presentation (5%) - attendance and class participation (15%) REQUIRED TEXTS: Tytti Soila et al.: Nordic National Cinemas Routledge: ISBN-10:

2 On Reserve: PN s2 s ; also available as an electronic resource Bordwell and Thompson: Film Art: An Introduction. 9th edition (2009) McGraw Hill: ISBN 10: Earlier editions on reserve: PN 1995 B TEXT; PN1995 B TEXT Recommended: Braudy and Cohen: Film Theory and Criticism. 6 th edition (FTC on syllabus) Oxford Univ. Press: ISBN On reserve: PN 1994 M Useful websites: For background information concerning the films and filmmakers: On Ingmar Bergman: The Swedish Film Institute: The Danish Film Institute: or FILMS: Urban Gad: The Abyss DVD9219 Victor Sjöström: The Phantom Chariot The Phantom Carriage DVD8296 Victor Sjöström: He Who Gets Slapped Mauritz Stiller: Erotikon DVD8109 Carl Theodor Dreyer: Ordet/The Word DVD825, disc 2 Ingmar Bergman: Wild Strawberries DVD768 Ingmar Bergman: Smiles of a Summer Night DVD2439 Ingmar Bergman: Fanny and Alexander DVD3754, VIDCASS9022 Ingmar Bergman: The Image Makers DVD8296 Gabriel Axel: Babette s Feast DVD2057 Bille August: Pelle the Conqueror DVD930 Thomas Vinterberg: The Celebration DVD4314 Lone Scherfig: Italian for Beginners DVD8036 Lars von Trier: Dogville DVD2828 Susanne Bier: Brothers DVD4478, DVD8884 Josef Fares: Zozo DVD8506 Lucas Moodysson: Show Me Love DVD2502 Lucas Moodysson: Together DVD2628 Films are on reserve at the Audio-Visual Library in the Fine Arts Library. In some cases, both videocassette and DVD versions are available. DVDs are almost always preferable, especially those put out by Criterion. Many films are also available through Netflix or for rental at video stores in town, especially Vulcan Video (both North and South), Waterloo, and I Love Video. You may also want to consider purchasing DVDs of films you choose to write on. You may be able to find inexpensive used versions at vendors such as Half-Price Books or Amazon.com. POLICY MATTERS: 2

3 Electronics: All electronic devices including mobile phones, note- and netbooks, ipods, and ipads must be turned off and put away before the start of class. Attendance: Your attendance and participation are important. If you are absent for more than three classes, your grade will go down by 1/3 of a grade for every subsequent absence i.e. from B to B-, etc. It is also important that you come on time. If you are more than 15 minutes late, you will be counted absent for ½ of that class. Please note, as well, that the weekly quizzes will be given at the beginning of class and may not be made up! Writing: We will be discussing writing matters throughout the semester and you will read and comment on one another s work. If you don t already have one, you should purchase a college writing handbook. Some suggestions: Hairston et al., The Scott Foresman Handbook, Trimble, Writing with Style, Ruszkiewicz et al., SF Express. I recommend that you skim Peter Elbow s Writing without Teachers for suggestions about how to get started and how to form a writing group. I also strongly encourage you to use the Undergraduate Writing Center, FAC 211, : The Undergraduate Writing Center offers free, individualized, expert help with writing for any UT undergraduate, by appointment or on a drop-in basis. Any undergraduate enrolled in a course at UT can visit the UWC for assistance with any writing project. They work with students from every department on campus, for both academic and non-academic writing. Whether you are writing a lab report, a resume, a term paper, a statement for an application, or your own poetry, UWC consultants will be happy to work with you. Their services are not just for writing with problems. Getting feedback from an informed audience is a normal part of a successful writing project. Consultants help students develop strategies to improve their writing. The assistance they provide is intended to foster independence. Each student determines how to use the consultant s advice. The consultants are trained to help you work on your writing in ways that preserve the integrity of your work. Please note that late papers will not be accepted unless you have made arrangements with me in advance. Finally, your writing must be your own work, which brings us to the next topic. Academic Honesty: If you plagiarize, I will report you to Student Judicial Services and you will fail the entire class. Simple rule of thumb: If you use words or ideas that are not your own you must cite your sources. Otherwise you will be guilty of plagiarism. If you have any questions about what constitutes plagiarism, please see the page on the Student Judicial website: Students with Disabilities: Please let me know by the third day of class at the latest if you have a disability that has been certified by SSD, Services for Students with Disabilities. See or the SSD website for more information. Religious Holidays: We will make accommodations for students who wish to observe religious holidays. Please let me know at least one class day in advance if you need such accommodation. 3

4 SIGNATURE ACTIVITIES: University Lectures: You will attend and discuss one of the following: Monday, October 4, 7 pm, Bass Concert Hall Martin R. Randy Cox: Circue du Politique» Speech coach Randy Cox will discuss current political discourse, presenting his prizewinning students on controversial topics of the day. Tuesday, October 5, 7 pm, Bass Concert Hall World Changers: The Great Debate The University claims that we transform lives for the benefit of society. Which subjects are the most important for you to study if you wish to change the world? Faculty from five disciplines will present their subjects and debate in front of student juries. Actors from the London Stage Shakespeare s A Midsummer Night s Dream You will also be required to attend one of the performances given by Actors from the London Stage at UT this fall. They will be in residence September 27 through October 3, and will give performances of Shakespeare s A Midsummer Night s Dream on September 29, 30, and October 1, at the McCullough Theatre on campus, and at Shakespeare at Winedale on October 2. See and < Visit to the Harry Ransom Center: The class will tour the exhibition, Discovering The Language of Photography: The Gernsheim Collection, September 7, 2010 January 2, 2011, at the Harry Ransom Center. 4

5 SYLLABUS Week One: Reading: Bordwell and Thompson: Chapter 1; Nordic National Cinemas: Aug. 25 Introduction to the class Film Showing: Fanny and Alexander; 4 pm in Burdine 116 Aug. 27 Section Week Two Reading: Bordwell and Thompson: Chapter 2; Nordic National Cinemas: ; (FTC: Sarris: Notes on the Auteur Theory in 1962 ( ); Wollen: From Signs and Meaning in the Cinema: The Auteur Theory ( ) Aug. 30 Fanny and Alexander Film Showing: Wild Strawberries, The Phantom Chariot/Carriage Sept. 1 Fanny and Alexander and Wild Strawberries Sept. 3 Section Week Three Reading: Bordwell and Thompson: Chapters 3-4; Sept. 6 L A B O R D A Y H O L I D A Y! On your own: View He Who Gets Slapped, available online. See =vgc&aq=0&oq=he+who+gets+slapped Sept. 8 Wild Strawberries and The Phantom Chariot/Carriage FIRST TWO-PAGE PAPER DUE IN CLASS (frame analysis) Sept. 10 Section Sept. 10 Last day to drop a class for a possible refund. Week Four Reading: Bordwell and Thompson: Chapters 5-6; Nordic National Cinemas: Sept. 13 The Phantom Chariot and He Who Gets Slapped Film Showing: Erotikon Sept. 15 He Who Gets Slapped and Erotikon Sept. 17 Section Week Five Reading: Bordwell and Thompson: Chapter 7; Walter Benjamin: The Work of Art in the Age of Mechanical Reproduction (on Blackboard) Sept. 20 Erotikon and Film Comedy Film Showing: The Image Makers Sept. 22 The Image Makers Sept. 22 Sept. 24 Section Last day to drop a class without a possible academic penalty. 5

6 Week Six Reading: Bordwell and Thompson: Chapter 8; Nordic National Cinemas: ; ; (FTC I: *Film Language (1-6) Pudovkin and Eisenstein: (7-40, esp , 12-23)) Sept. 27 SECOND TWO-PAGE PAPER DUE IN CLASS (edit analysis) Film Showing: Smiles of a Summer Night Sept. 29 Smiles of a Summer Night Sept. 29, 30; Oct. 1 Actors from the London Stage at the McCullough Theatre Oct. 1 Section Oct. 1 Application deadline for International Education Fee Scholarship (IEFS) for spring and Maymester programs. Oct. 2 Actors from the London Stage at Shakespeare at Winedale Week Seven Reading: Bordwell and Thompson: (Chapter 9; FTC: Mulvey: Visual Pleasure and Narrative Cinema ( ); (Lacan: The Mirror Stage (on Blackboard)) Oct. 4 Smiles of a Summer Night and A Midsummer Night s Dream Film Showing: Ordet nb time change: 4 pm First University Lecture: Circue du Politique,» Bass Concert Hall, 7 pm October 5 : Second University Lecture : «World Changers : The Great Debate, Bass Concert Hall, 7 pm Oct. 6 Dreyer and Ordet Oct. 8 Section Lecture Series Discussions Week Eight Reading: Bordwell and Thompson: Chapter 10; Isak Dinesen: Babette s Feast (on Blackboard) Oct. 11 Ordet THIRD TWO-PAGE PAPER DUE IN CLASS (Bergman and Shakespeare) Film Showing: Babette s Feast Oct. 13 Karen Blixen/Isak Dinesen and Babette s Feast ; Read Babette s Feast (on Blackboard) Oct. 15 Section Week Nine Reading: (FTC V. The Film Artist ( ); *Belazs: The Close-up and The Face of Man ( )) Oct. 18 Babette s Feast Film Showing: Pelle the Conqueror Oct. 20 Oct. 22 Section Pelle the Conqueror Oct. 20 Last day an undergraduate student may, with the dean s approval, withdraw from the University or drop a class except for urgent and substantiated, nonacademic reasons. Last day a student may change registration in a class to or from the pass/fail or credit/no credit basis. 6

7 Week Ten Oct. 25 Pelle the Conqueror; Dogme and the Return of Avant-Garde Cinema? Film Showing: The Celebration Oct. 27 The Celebration Oct. 29 Section Week Eleven Reading: (Barthes: The Face of Garbo ( ) Nov. 1 The Celebration FOURTH TWO-PAGE PAPER DUE IN CLASS (analysis of a film review) Film Showing: Italian for Beginners Nov. 3 Italian for Beginners Nov. 5 Section Week Twelve Nov. 8 Film Showing: Dogville Nov. 10 Dogville Nov. 12 Section Week Thirteen Nov. 15 Dogville Film Showing: Brothers; Zozo Nov. 17 Brothers Nov. 19 Section Week Fourteen Nov. 22 Brothers, Zozo STORYBOARD DUE IN CLASS Film Showing: Show Me Love Nov. 24 Zozo Nov. 26 T H A N K S G I V I N G H O L I D A Y Week Fifteen Nov. 29 Show Me Love LAST DAY TO TURN IN REWRITES Film Showing: Together Dec. 1 Together and Wrap-Up FIFTH TWO-PAGE PAPER DUE IN CLASS Dec. 3 Section 7

8 ASSIGNMENTS WEEKLY QUIZZES: These will take place at the beginning of class on Wednesdays, unless otherwise announced. Be sure to come on time. There are no make-up quizzes, but you may drop your lowest grade. PRESENTATIONS: Every student will make a five-minute oral presentation for his or her discussion section. Topics will vary, but every presentation should argue a point and serve as a point of departure for class discussions. If there is a particular subject you would like to talk about, please let us know. THE TWO-PAGE PAPERS: Please note that the due dates are marked on your syllabus. These dates are firm. I will not accept late papers unless you have made arrangements with me in advance. If an illness prevents you from turning in your assignment on time, I will need a signed doctor s statement that this is the case. EXTENSION POLICY: I will grant you an extension for up to two of your papers. If you have an unusually busy schedule at the time one of the papers is due or an unusual circumstance, such as a wedding out of town, please inform me and we can arrange another deadline. 1. You must ask for the extension by the time class meets BEFORE the deadline on the syllabus, i.e. at least one class in advance. You may also ask for an extension any time before the class meeting before the deadline. 2. You must get my permission and the new deadline in writing. The best way to do this is by sending me an message outlining the reasons for your request. Keep a copy of my reply. Papers should be typed or keyboarded, double-spaced, with 1 margins and 12 point Times type. Please type your name, section, and address, as well as the title of your paper, on a separate sheet. Only your title should appear on the two pages of text you hand in. DON T FORGET TO STAPLE YOUR ASSIGNMENTS BEFORE YOU COME TO CLASS! Assignment 1: Frame analysis For this assignment, as well as the edit analysis and storyboard, you will have to download a frame from a DVD of one of the assigned films. If you have a PC, programs such as Power DVD will allow you to do this by taking a snapshot of a frame. Power DVD has a little camera icon. If you right-click on it, you can choose where to download the snapshot. Left-click and you take a snapshot, which you can then past into a Word file. If you have a Mac, there are several alternatives, one of which is to print the screen. Your two-page paper should address the following points: 8

9 a. Situate the following frame in the context of the film in which it occurs. What is the name of the film? Who is represented? What is the context of the frame in the plot? b. What kind of shot is this? Camera angle? Comment on the lighting, color, and any other visual effects. c. Comment on the arrangement of objects in the frame. Is there any symbolism? Assignment 2: Edit analysis In this assignment you will consider the relationship between two shots. Here again you will choose a pair of shots that seem to stand in a particularly interesting relationship to each other and are also significant within the film as a whole. You will need to download two or three frames to your computer and paste them into a word processing file, such as Word. If the edit is a cut, you will need only two frames, if it is a dissolve, you will probably need three, including one that shows the superimposition of the two images. Your two-page paper should address the following points: a. At what point in the film does this edit occur? What is the name of the film? Who or What is represented? What is the context of the editing in the plot? b. What kinds of shots do the frames represent? Camera angles? Comment on the lighting, color, and any other visual effects and on the arrangement of objects in the frame. Is there any symbolism? c. What kind of editing is represented here? (a cut, wipe, dissolve, etc.) d. What is the effect of the juxtaposition or combination of these two shots? Does it suggest a conflict, an underlying identity, the passage of time, an omission, or some other relationship? Or is this an example of ineffective editing? Assignment 3: A Comparison of Scenes from A Midsummer Night s Dream and Smiles of a Summer Night Since this is a two-page paper, you re going to have to narrow your focus drastically. For this assignment we re asking you to choose two short scenes that highlight some central differences or common ground between the play and its performance and the film or both. Some questions to consider: - Where do the scenes occur in the plot of the work? - To what extent does the dialogue overlap? - How does each scene respond to the demands of the theater or film? - Do you think the film adequately translates a theatrical work? Or does it do something else? Some general issues: - As always, a comparison needs to start by establishing the common ground between or among the things to be compared, i.e. apples and oranges = fruit. In this case, the issue is more complicated, especially since Smiles of a Summer Night isn t an adaptation of A Midsummer Night s Dream. - You also need a thesis. Why compare these scenes? What s your take on the problems they raise? Assignment 4: Critical Analysis of a Film Review 9

10 You ll begin by finding a review of one of the films required for this class. There are various indexes that can help you do this, but a good place to begin is the Library s tutorial on the databases that include this kind of information. See You will need to print out or photocopy the review and attach it to your paper. Your paper should evaluate the review. Is it accurate? What is the point of view of the critic? Does s/he have a theological, religious, film-theoretical, or political perspective or bias? What does the review leave out or fail to consider? Finally and perhaps the most important point: what did the review bring into focus for you? Please note that a good paper will do more than move through these points one by one. Like a good review, it should have a central focus, a thesis, or perhaps even its own bias. Assignment 5: Storyboard/Sequence Analysis There are two parts to this assignment. The first is to storyboard and label a sequence of five shots from any of the films required for this class. You will want to choose a sequence that you find particularly interesting. Then you will need to download frames from each of the shots. Unless the shot is very short and employs a stationary camera, you ll probably need to download several frames, which you will label 1A, 1B, and 1C, etc. Using the real-time timer on your DVD-player or the DVD-viewer program, note the time that each shot begins. For the beginning of the first shot, you will write, for example, 1A 42:33 (shot 1 begins 42 minutes and 33 second into the film. Do this for each subsequent shot. (You don t need to note the time for 1B, 1C, etc.) Note as well under the shot what s interesting about it. What s happening in the shot? What do we hear? Anything special about the lighting? See the example of a storyboard that follows this section of the syllabus. The second part of the assignment is to write an essay analyzing the style of the sequence. This essay should tell me how and why this passage is representative of the film it comes from or why it is unusual. And you should comment on the rhythm of the sequence, the role of sound, the mise-en-scène, proximity relationships, and the quality of the acting. What is the overall effect of the sequence. Rewrites: You may rewrite any two of your first four papers. As stated on the syllabus, the last day to turn in your rewrites is November 29. But we strongly encourage you to get them to us earlier, if possible no later than two weeks after you receive the edited first version of your paper. In some cases, we may encourage you to rewrite the paper a second time. Remember to turn in the edited earlier version of your paper together with your rewrite! 10

STORYBOARD EXAMPLE From a sequence analysis of

hanging in the bathroom Shot 1c time 53.

11 STORYBOARD EXAMPLE From a sequence analysis of Ingmar Bergman s Persona by Bridget Jones Shot 1a time Medium shot, Alma is washing the blood off her nose Shot 1b time Medium shot, Alma turns to use the towel hanging in the bathroom Shot 1c time Medium shot, Alma sitting on the toilet drying her face Shot 1d time Medium shot, Alma is sobbing on the toilet Shot 1e time Medium shot, Alma looks at herself in a mirror Shot 1f time Medium shot, Alma gets up Shot 1g time Medium shot, Alma brushes her hair Shot 1f time Medium shot, Alma gets up 11

00 Medium shot, Elisabeth hands the cup to Alma, Alma slurps

Is it really important that you don't lie, that you tell the

Can you live without talking freely?" Shot 2c - time 54.

"Lie and make excuses?" Shot 2d time 54.

25 Medium shot, Alma continues, "Isn't it better to give

12 Shot 2a time Medium shot. Elisabeth drinking from a cup Shot 2b time Medium shot, Elisabeth hands the cup to Alma, Alma slurps a drink and says "Does it have to be like this? Is it really important that you don't lie, that you tell the truth, talk with a genuine tone of voice? Can you live without talking freely?" Shot 2c - time Medium shot, Alma continues as she walks around Elisabeth, "Lie and make excuses?" Shot 2d time Medium shot, Alma walks behind Elisabeth Shot 2e time Medium shot, Alma continues, "Isn't it better to give yourself permission to be lazy and lie?" Shot 2f time54.29 Medium shot, Elisabeth turns around and Alma says "Perhaps you get better if you just be the way you are?" 12

SCAND 360A/COMP LIT 315B Scandinavian Cinema/National Cinema Winter

SCAND 360A/COMP LIT 315B Scandinavian Cinema/National Cinema Winter 2008 http://faculty.washington.edu/akn/scand360.htm Course Information Instructor 5 Credits Prof. Andrew Nestingen Room: Johnson 175