Introduction to Nordic Cinema

Description: Lecture, two hours; discussion, two hours. Enforced requisite: English Composition 3 or English as a Second Language 36. Not open for credit to students with credit for course 60. Introduction to cinematic traditions of Nordic countries, with emphasis on construction of other or outsider as conceptual category. Survey of wide range of films to interrogate relationship between various forms of minority discourse and dominant values, institutions, and mechanisms and instruments of social control. Investigation of how these cinematic narratives of dominant normativity and diversity reflect cultural anxieties surrounding identity, ideology, collective memory, and power relationships. Screenings supplemented with relevant theoretical texts to give tools necessary to more effectively contextualize and analyze images. Satisfies Writing II requirement. Letter grading.

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Spring 2017 - GREAT class: it ALL depends on your T.A. You have to be lucky to get an easy grader TA because if not youre screwed. And you won't know this until he grades your first paper which is after week 2 (and harder to change sections). Professor has no power over grades so you better be lucky!!! You dont have to watch all 20 movies, only the 3 for your 3 essays. The first essay is on the first movie you see (he gives you a prompt) The second essay is on any movie from weeks 2-3 (4 options) (gives you a prompt for each option but you can invent your own prompt) The third essay is on any movie from weeks 4-10 (14 options) (doesn't give you prompt, you can invent your own) SYLLABUS: Course Description: Scandinavian 60W provides undergraduates with a broad introductory overview of the cinematic traditions of the five Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden). The course also meets the College diversity requirement to help students better understand the perspectives of others whose histories, experiences, cultures and social conditions may differ from one’s own. Frames of reference include but are not limited to race, ethnicity, socioeconomic class, gender, sexual orientation, religion, disability, age, language, nationality, citizenship status, and place of origin. This quarter’s films include classic Nordic films from directors such as Victor Sjöström, Alf Sjöberg, Ingmar Bergman, Mai Zetterling, Vilgot Sjöman, Lukas Moodysson, Josef Fares, Tomas Alfredson (Sweden), Carl Th. Dreyer, Thomas Vinterberg, Lona Scherfig, Susanne Bier (Denmark), Peter Naess, Khalid Hussain (Norway), Aki Kaurismäki (Finland) and Baltasar Kormákur (Iceland). The course also meets the Writing II requirement. We will focus on critical thinking, close textual analysis, and developing persuasive, well-written essays. In addition to section work (including informal writing exercises, group work, etc.), three formal writing essays of increasing length and scope are required. Students will substantially revise at least fifteen pages of essay draft versions to further develop and refine their ideas, arguments, and critical-analytical voice. Focused and engaged participation in lectures and section meetings is also a key part of the student’s overall grade. Our readings include the textbook Writing About Movies (4th edition) Gocsik, Barsam, Monahan (W.W. Norton, 2015), and selected scholarly articles as PDFs on the course website. This course satisfies the Writing II and Diversity requirements. Required book texts: ASUCLA Bookstore in Ackerman Writing About Movies (4th edition) Gocsik, Barsam, and Monahan,. W.W. Norton, 2015. Additional designated reading assignments will be available as PDFs on the course website. GRADING In-class participation at lectures 10% Participation in section meetings (all assignments, discussions, exercises, etc.) 15% Essay #1 (4-5 pages) Draft version 8% Revised version +12% = 20% total Essay #2 (5-6 pages) Draft version 10% Revised version +15% = 25% total Essay #3 (6-7 pages) Draft version 10% Revised version +20% = 30% total Total: 100 course points GRADE SCALE A+ 97-100 % B+ 87-89 % C+ 77-79 % D+ 67-69 % A 93-96 % B 83-86 % C 73-76 % D 63-66 % A- 90-92 % B- 80-82 % C- 70-72 % D- 60-62 % F 0-59 % Essay Writing assignments: You will be asked to write and revise three essays in the course of the quarter. All drafts and revised essays must be double-spaced, have 1-inch margins, be in a 12 pt. font size, and use Times New Roman or a similar font. Essay formatting should conform to either the MLA or Chicago Manual of Style guides. All essays must first be turned in as an advanced draft. An advanced draft is meant to be a full-length essay that has been thought out carefully. It is not simply an outline or sketch of an idea but is a structured draft essay. All drafts will receive a grade. Each draft must be rewritten once, unless it receives an A+ on the first round. Both the draft version grade and the revised version grade count toward your final grade. If the revised essay is not a significant improvement over the draft version, your grade will be reduced! Minor cosmetic changes do not constitute a serious revision. Essays 1 & 2: Essay topics will be handed out in advance for the first two essays. Essay #1 must be 4-5 pages and Essay #2 must be 5-6 pages in length. Essay 3: The third essay will be an argument/approach of your own choosing on an assigned text from Week 5 or after. You must discuss your proposed paper in advance with your TA and have it approved. The third essay will also require some research and use of secondary sources. Essay #3 must be 6-7 pages in length. Policy on late papers: Meet the deadlines. Late drafts and papers will be docked a 2/3 reduction of a letter grade for missing the initial deadline and 2/3 of a grade thereafter for each additional 24-hour day late. POLICY ON PLAGIARISM Plagiarism will not be tolerated. It is a violation of the UCLA Student Conduct Code and will result in the automatic assignation of a failing grade and referral to the Dean of Students for disciplinary action. Refer to for Student Guide to Academic Integrity. UCLA Student Conduct Code 102.01c: Plagiarism Plagiarism includes, but is not limited to, the use of another's words or ideas as if they were one's own, including, but not limited to, representing, either with the intent to deceive or by the omission of the true source, part of or an entire work produced by someone other than the student, obtained by purchase or otherwise, as the student's original work or representing the identifiable but altered ideas, data, or writing of another person as if those ideas, data, or writing were the student's original work. Other General Policies The class carries impacted course status. Enrolled students will be automatically dropped if they miss lecture and discussion meetings Tuesday and Thursday of Week 1. Also, there is no section-switching. You will need to stay in the section you are enrolled in or else drop the course. Because of university policy, the class is strictly limited to 88 students maximum (or 22 students maximum per each of the 4 TAs). Students on the waitlist will be issued PTEs only if and when openings appear. Waitlisters are advised to keep open all their other options for Writing II classes in other depts., e.g, in Comparative Literature and English. Ultimate responsibility for all class material, and for familiarity with the syllabus, rests with the student. Students are expected to complete all assignments in advance of each class meeting and to arrive to classes on time (chronic tardiness will negatively affect your grade). Be prepared to participate. All written work must be submitted via Turnitin. Login to MyUCLA, go to your "Courses" page, and look for the "Turnitin" link under the class name. To submit a paper, click the "submit" icon next to the assignment name. There are no “redos,” make-ups, or extra credit. Points are awarded based only on the criteria outlined in this syllabus. You are graded on the quality of work that you turned in, not simply on the fact that you turned something in. Please note that the professor will not change any grade assigned to you by your TA and is not a court of appeals. The student will not be given an Incomplete (I) grade except in cases of extraordinarily damaging crises. Graduating seniors are graded on the same basis as other students, without special consideration. UCLA’s Mobile Phone and Pager Policy Any disruption of a class due to the audible beeping or use of mobile phones or pagers will be treated as a violation of Section 102.13 of the UCLA Student Conduct Code and will subject a student to sanctions up to and including suspension or dismissal. Mobile phones and pagers must be turned off while in classes, libraries, or other quiet areas. Please silence and put away smartphones during class. Using your mobile devices during class is rude, disrespectful, and distracting. Wait until you are outside of the classroom. Viewing the films in advance: It is the student’s responsibility to view each assigned film in advance of class. Instructional Media Lab: All of the assigned films for the course are available for viewing on DVD in the Instructional Media Lab in Powell 270. Spring quarter hours are: Monday-Thursday 10am – 9pm Friday 10am – 6pm Saturday CLOSED Sunday 1pm - 6pm Bruin Media: Each film can also be viewed digitally through BruinMedia via the CCLE (Common Collaboration and Learning Environment) course link on MyUCLA. Find the films under Media Resources on the course website menu. Your computer or device needs to have downloaded Microsoft Silverlight. Mozilla Firefox is recommended also for optional access and viewing. Update from the Office of Instructional Media: This quarter we will continue the process of transitioning from Bruin Media to Wowza.  Our office will be streaming video from both platforms as we continue to shift away from Bruin Media. When the files have been shifted to Wowza the students shouldn’t have issues with which browser to use, as it no longer relies on Silverlight.  In fact when a film link is opened the media is played in the same window as the course website, it no longer launches as a new window. Microsoft Silverlight is being phased out, so they are no longer updating it and releasing new versions.  So if the students have Silverlight installed, they won’t experience having to install new versions and have it be incompatible with different browsers.  Titles still on Bruin Media would require Silverlight and students would want to avoid Chrome or Safari, Firefox is usually the recommended browser, but we were told that once a title resides on Wowza, those issues should be gone. Students shouldn’t be able to know if a certain title is being streamed through Bruin Media or Wowza.   Weekly Assignments (subject to minor revisions): WEEK 1 SJÖSTRÖM AND THE SWEDISH SILENT GOLDEN AGE Tuesday, April 4 Introduction to course, course syllabus, policies, etc. Thursday, April 6 View in advance: Victor Sjöström, The Phantom Carriage/Körkarlen (Sweden, 1921) 106 min. Read: Writing About Movies (4th ed.) Chap 1: “The Challenges of Writing About Movies” (3-17) and Chap. 2: “Looking at Movies” (19-34) Topic prompts for essay #1 handed out in lecture *********************************************** WEEK 2 DREYER, SJÖBERG, AND WWII ALLEGORIES Tuesday, April 11 View in advance: Carl Th. Dreyer, Day of Wrath/Vredens Dag (Denmark, 1943) 97 min. Read: Writing About Movies: Chap. 5: “Generating Ideas”; Chap. 7: “Developing Your Thesis” (137-146) and “Illustrated Glossary of Film Terms” (195-263) Thursday, April 13 View in advance: Alf Sjöberg, Torment/Hets (Sweden, 1944) 101 min. Complete 4-5 page draft of essay #1 due to TA via Turnitin by 11 am today *********************************************** WEEK 3 INGMAR BERGMAN: DISABILITY, AGE, AND WISDOM Tuesday, April 18 View in advance: Ingmar Bergman, Music in Darkness/Musik i mörker (Sweden, 1948) 84 min. Read: Writing About Movies: Chap. 8: “Considering Structure and Organization” (147-166) Thursday, April 120 View in advance: Ingmar Bergman, Wild Strawberries/Smultronstället (Sweden, 1957) 91 min. Read: Writing About Movies: Chap. 10: “Revising Your Work” (181-191) *********************************************** WEEK 4 THE SIXTIES: SEX, POLITICS, FEMINISM, AND NORDIC NEW WAVES   Tuesday, April 25 View in advance: Vilgot Sjöman, I am Curious Yellow/Jag är nyfiken - gul (Sweden,1967)121m. Final revision of Essay #1 due to TA via Turnitin by 11 am Topic prompts for essay #2 handed out in lecture Thursday, April 27 View in advance: Mai Zetterling, The Girls/Flickorna (Sweden, 1968) 100 min. Read: Mariah Larsson, “Modernity, Masculinity and the Swedish Welfare State in Mai Zetterling’s Flickorna” PDF Read: Writing About Movies: Chap. 3: “Formal Analysis” (35-54) and Chap. 6: “Researching Movies” (125-135) ******************************************** WEEK 5 BERGMAN’S 1968 CIVIL WAR; MOODYSSON AND THE “SEVENTIES” Tuesday, May 2 View in advance: Ingmar Bergman, Shame/Skammen (Sweden, 1968) 93 min. Thursday, May 4 View in advance: Lukas Moodysson, Together/Tillsammans (Sweden, 2000) 107 min. Complete 5-6 page draft of essay #2 due to TA via Turnitin by 11 am ********************************************* WEEK 6 DOGME 95: DENMARK, MANIFESTOS, THE AESTHETICS OF LIMITS Tuesday, May 9 View in advance: Thomas Vinterberg, The Celebration/Festen (Denmark, 1997) 106 min. Read: Writing About Movies: Chap. 4: “Cultural Analysis” (55-100) Thursday, May 11 Screen in class: first half of Lone Scherfig’s Italian for Beginners (Denmark, 2000) 97 min. Read: Writing About Movies: Chap. 9: “Attending to Style” (167-179) Professor Lunde away at SASS Scandinavian Studies conference ******************************************** WEEK 7 KAURISMÄKI’S AMNESIA VICTIM; VAMPIRES AND OTHERNESS Tuesday, May 16 View in advance: Aki Kaurismäki, The Man without a Past (Finland, 2002) 97 min. Read: Bert Cardullo, “Finnish Character: An Interview with Aki Kaurismäki” PDF Read: Thomas Elsaesser, “Hitting Bottom: Aki Kaurismäki and the abject subject” PDF Thursday, May 18 View in advance: Tomas Alfredson, Let the Right One In /Låt den rätta komma in (Sweden, 2008) 115 min. Read: Rochelle Wright, “Vampire in the Stockholm suburbs: Let the Right One In and genre hybridity” PDF Revised essay #2 due to TA via Turnitin by 11 am ******************************************* WEEK 8 ETHNIC ROMANTIC COMEDIES AND THE MULTICULTURAL NORTH Tuesday, May 23 View in advance: Josef Fares, The Best Man’s Wedding/Jalla! Jalla! (Sweden, 2000). 92 min. Read: Rochelle Wright, “’Immigrant Film’ in Sweden at the Millenium” PDF Thursday, May 25 View in advance: Khalid Hussain, Import Export/ Import eksport (Norway, 2005). 90 min Complete 6-7 page draft of Essay #3 due to TA via Turnitin by 11 am ******************************************* WEEK 9 OUTLIERS AND THE NORDIC SOCIAL WELFARE STATE Tuesday, May 30 View in advance: Peter Naess, Elling (Norway, 2001) 90 min. Thursday, June 1 View in advance: Baltasar Kormákur, 101 Reykjavik (Iceland, 2000) 88 min. ******************************************* WEEK 10 DANISH DREAMS OF BIER AND VON TRIER Tuesday, June 6 View in advance: Susanne Bier, After the Wedding (Denmark, 2006) 119 min. Read: Belinda Smaill, “The Male Sojourner, the Female Director, and Popular European Cinema: The Worlds of Susanne Bier” PDF Thursday, June 8 Screen in class: Opening section of Lars von Trier’s Melancholia (Denmark, 2011) 135 min. Friday, June 9: Revised essay #3 due to TAs via Turnitin by 11 pm
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