Final Syllabus
HISTORY OF EUROPEAN FILM – FALL 2017 European Humanities 3 credit course
Tuesday & Friday 10.05-11.25 in the DIS Movie Theatre
The Mirror (Andrei Tarkovsky, 1975)
Instructor: Morten Egholm Ph. D., Film Studies, University of Copenhagen, 2009. Cand. mag., Scandinavian Studies, Film and Media Theory, University of Copenhagen, 1997. Associate professor in Danish Language, Literature and Culture, University of Groningen, The Netherlands, 2002-2006. Has written several articles in Danish, English and Dutch on film history, Scandinavian film, Danish literature, Danish theatre, and Danish and American TV series. Editor of the film journal Kosmorama 2010-2015. With DIS since 2008, since January 2012 as full time faculty.
Morten Egholm Tel. 60 81 40 71 [email protected] Office hours: Thursdays, 1.15-3.00 pm in Room 10 B-15
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
DIS contact Sanne Rasmussen, Program Coordinator, European Humanities Department, [email protected]
Content The course offers an introduction to film understanding, film aesthetics, and film history in general as a basis for an analysis of European cinema. Following an introduction to early European film history, the course will concentrate on different currents, trends, and waves like German Expressionism, French Poetic Realism, Italian Neorealism, Masters of Scandinavian Cinema, French New Wave, Czechoslovakian New Wave, Danish Dogma 95, The Greek Weird Wave, The Berlin School, and Masters of Experiment, Modernism, and Postmodernism. Further, the course will work as an introduction to some of the greatest European auteurs in film history like Carl Th. Dreyer, Victor Sjöström, F.W. Murnau, Ingmar Bergman, Francois Truffaut, Nicolas Roeg, Andrei Tarkovsky, Krzysztof Kieslowski, Pedro Almodovar, Paolo Sorrentino, Maren Ade, and others. The main emphasis will be on seeing and understanding films and film makers in relation to their historical, literary, and motion picture backgrounds, partly through film examples, partly through reading material. Each class will concentrate on one theme or aspect of film history and will include a related film viewing.
The course does not include practical film making - the approach is analytical, aesthetical, and historical.
Objectives By the end of the course, each student will have gained:
A sound knowledge of the history of European cinema in its relation to cultural and social conditions and general film history
An understanding of the basic facts and methods of film analysis
The ability to produce an academic research paper demonstrating a skill to interpret and discuss the history of European film
Method The course will include lectures, discussions of films and required readings, and film viewings. Each class session will concentrate on one theme or aspect of European cinema and will include a related film viewing. The films are in English or with English subtitles/intertitles.
Classroom Etiquette The use of distracting devices (smartphones, tablets, laptops, etc.) is strictly prohibited during class. Failure to comply will adversely affect participation grades. Use of laptops for the purpose of note-taking requires prior consultation with the professor. Students should refrain from all other computer activities, as they prove distracting to themselves and fellow students. Mobile phones and other electronic devices should of course be turned off and stored away.
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
Attendance Policy Attendance at all scheduled classes is required, and each student is responsible for all material covered or assigned in class. Included in the computation of the final grade in the course is participation. Participation extends to all class sessions, film viewings, as well as activity in class discussion and a general contribution to the progress of the class.
Reading List - David A. Cook: A History of Narrative Film. Fifth Edition, New York & London, 2016. - Morten Egholm (ed.): Course binder, History of European Film, 2017
Grades & Evaluation The grades used by DIS instructors are as follows: A = Excellent = 4 B = Well above average = 3 C = Average = 2 D = Below average but passing = 1 F = Failure or failure to complete = 0 Plus (+) and minus (-) grades are used for examinations and home assignments as well as for final grades. For purposes of calculating grade points and averages, the "+" is equal to .3 and the "-" is equal to minus .3.
Evaluation Midterm 25% Research paper 25% Final exam 25% Class Participation (including Film Screening info tests) 25%
Midterm & Final The tests consist of questions of relatively simple facts (like: Who made this or that film?), questions of more complex character (like: mention the characteristics of this or that director), and questions to be answered with a short essay (like: Comment on the typical trends in British film in the 1960s and 1970s). The answers will be weighted differently. Midterm takes place in class on October the 27th
Film Screening info tests It is very important that you view each required film before class (see schedule below). A very short, written test relating to the film’s content will sometimes be handed out before the screening.
Research Paper Synopsis or small presentation in class The synopsis or short presentation in class should give the topic of your paper. Must be handed in/discussed on November the 17th. The Research Paper is due the last day in class, December 5.
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
Research Paper The topics for the research paper are decided by the student and the instructor together. Normally, it would be on (or relate to) subjects and films dealt with in the course. It is of course also possible to write about other topics/films by agreement with the instructor. Suggested structure of your paper: 1. Table of contents. 2. Introduction: Presentation of the subject to be investigated. An overview of the contents. A comment on the methodology. 3. Analysis: Short description(s), comments, discussions, comparisons. 4. Summary and conclusion. 5. Notes & Bibliography. The paper should be based on the required reading, the additional reading found in the DIS library and/or the Danish Film Museum Library, the films seen in class and/or films by your own choice.
In the Introduction, the factual material is presented. The main emphasis, though, should be on the analysis - that is: your personal discussion of the material. It is necessary to present the substance of the topic through paraphrasing and quotations (remember, always to footnote/endnote sources of direct quotations), but it is not sufficient only to paraphrase. The analysis of the material - your personal understanding and interpretation - is the important part of the paper. The paper should normally include a relatively detailed analysis of one of the films you have seen within the subject.
Length: Appr. 8-10 type written pages, or appr. 2800-3000 words.
The Research Paper is due December 5th at 11:59 pm (hand in at my office or e-mail it to me)
The Danish Film Institute Library is located in the Film House, “Filmhuset”, Gothersgade 55 (close to Nørreport Station). The Library has a large collection of books, periodicals, stills and other film-related material. The Film House also has a book store, a video library, a cafe, plus three cinemas that show films every day. When writing your research paper, it is highly recommended that you do some of your research at the library, and/or take out material from their collections.
The Library is open: Monday: Closed Tues-Fri: 9 am - 9 pm Saturday: 10:45 am – 9 pm Sunday: 10:45am – 7 pm
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
Port of Shadwos (Marcel Carné, 1938) Film Viewings Please note that it is mandatory to watch each film before the relevant class. Below you will find a schedule of film viewings that allows you the opportunity to view the films together as a class. If, for some reason, you are unable to attend a viewing or would like to see a particular film again, it will be available on reserve in the Library. Keep in mind that these films act as the texts of this course and it is therefore just as necessary to watch each film attentively (i.e. take notes) before the class sessions in which it will be discussed.
Each film will be screened at 4-6 pm in The DIS Movie Theatre on the given date
The films marked with a ‘C’ can also be found uploaded on Canvas. Some of these need to be downloaded before watching!
Viewing Dates: Film Year Duration
Tuesday, August 29 (in class) The Abyss 1910 37’ C Thursday, August 31, NB: 18.00-20.00! The Phantom Carriage 1920 105’ C Monday, September 4 Nosferatu 1922 94’ C Monday, September 18 Modern Times 1936 83’
Tuesday, September 19, 7-10.30 pm (Field Study) The Word 1955 125’
Wednesday, September 20 (Field Study, morning) Port of Shadows 1938 91’ Thursday, September 28 The Bicycle Thieves 1948 91’ C Monday, October 2 The Third Man 1949 105’ C
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
Thursday, October 5 The Seventh Seal 1957 95’ Monday, October 16 The 400 Blows 1959 95’ Thursday, October 19 Closely Watched Trains 1966 1966 92’ C Monday, October 23 Don’t Look Now! 1973 103’ Monday, November 6 The Mirror 1975 107’ Thursday, November 9 A Short Film About Killing 1988 88’ Monday, November 13 The Celebration 1998 102’ C Thursday, November 16 Talk to Her 2002 113’ Monday, November 20 The Great Beauty 2013 135’ Monday, November 27 NB: 16.15-18.15! The Lobster 2015 115’ C
Wednesday, November 29, 1-4 pm (Field Study) Toni Erdmann 2016 156’
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
SCHEDULE: European Film Pioneers 1895-1910 1) August 25 INTRODUCTION Films: Excerpts from a selection of films by The Lumière Brothers, Georges Méliès, and others Reading: Cook, 2-16.
Danish Golden Age 1910-1914 and Europe in the 1910’s 2) August 29 Film: The Abyss by Urban Gad (1910, shown in class); Readings: Peter Cowie: Scandinavian Cinema, 1992, pp.23-37 Julie K. Allen: ‘Ambivalent Admiration. Asta Nielsen’s Conflicted Reception in Denmark, 1911-1914’ Cook, pp. 34-43
Swedish Golden Age 1917-24 3) September 1 Film: The Phantom Carriage by Victor Sjöström (1921) Readings: Peter Cowie: Scandinavian Cinema, 1992, pp. 107-129 Casper Tybjerg: ‘Searching for Art’s Promised Land: Nordic Silent Cinema and the Swedish Example’
German Expressionism and Weimar Cinema 1918-1932 4) September 5 Film: Nosferatu by F.W. Murnau (1922) Readings: Siegfried Kracauer: From Caligari to Hitler, pp. 77-87 Cook, pp. 70-87
Soviet Montage, French Impressionism & Avant-Garde 5) September 8 Films: Different clips shown in class Reading: Cook, pp.88-117; pp.233-240
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
CORE COURSE WEEK AND SHORT STUDY TOUR September 11-16
Chaplin in the 1920s and 1930s: A European in America 6) September 19 Film: Modern Times by Charles Chaplin (1936) Readings: George Potter: Adorno, Chaplin, and the Possibility of Progressive Comedy Cook, pp.123-126 Evening Event: FILM EVENING IN “HUSET”: Watching The Word Tuesday 19 Sep., 7-10.30 pm, Free film, beer/drink, and snack
Wednesday, September 20, 9-12.30, Field Study: Watching Port of Shadows (1938, 91’) and visiting the exhibition Stanley Kubrick at Gammel Strand
Carl Th. Dreyer – the big auteur in Danish Cinema 7) September 22 Film: The Word by Carl Th. Dreyer (1955) Reading: Drum & Drum: My Only Great Passion Chapter 12: Ordet
French Poetic Realism in the 1930s and 1940s 8) September 26 Film: Port of Shadows by Marcel Carné (1938) Readings: Jonathan Driskell: Marcel Carné, 2012, pp. 30-56 Cook, pp.242-249
Italian Neorealism in the 1940s and 1950s 9) September 29 Film: The Bicycle Thieves by Vittorio de Sica (1948) Readings: Cesare Zavattini: A Thesis On Neorealism André Bazin: ‘Bycicle Thief’ Cook, pp.276-285
Post WW-2 British Cinema 10) October 3 Film: The Third Man by Carol Reed (1949) Readings: Nicholas Wapshott: ‘The Trouble With Harry’ Cook, pp.384-392
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
Ingmar Bergman and Scandinavian Existentialism 11) October 6 Film: The Seventh Seal by Ingmar Bergman (1957) Reading: Peter Cowie: Scandinavian Cinema, 1992, pp. 136-145 Cook, 448-451
Travel Break, October 7-15
The French New Wave in the 1950s and 1960s 12) October 17 Film: The 400 Blows by François Truffaut (1959) Reading: François Truffaut: A Certain Tendency of the French Cinema Cook, 338-372
13) October 20 The Czechoslovakian New Wave in the 1960s Film: Closely Watched Trains by Jiri Menzel (1966) Readings: Adam Bingham: Jiri Menzel Cook, pp.490-499
British Realism and Modernism in the 1960s and 1970s 14) October 24 Film: Don’t Look Now! by Nicolas Roeg (1973) Readings: John Izod: ‘5: Don’t Look Now!’ Mark Sanderson: Don’t Look Now Cook, pp. 392-404
15) October 27 MIDTERM, 80 minutes in class
Travel Break, October 28 – November 5
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
Andrei Tarkovsky and Eastern European Modernism 16) November 7 Film: The Mirror by Andrei Tarkovsky (1975) Readings: Sean Martin: Andrei Tarkovsky Nariman Skakov: ‘Chapter 4: Memories of Mirror’ Cook, pp.532-542
The Polish School in the 1960s, 1970s, and 1980s 17) November 10 Film: A Short Film About Killing by Krzysztof Kieslowksi (1988) Readings: Eva Badowska and Francesca Parmeggiani (ed).: ‘Introduction’ + ‘Decalogue 5: A Short Film About Killing, Sin, and Community’ Cook, pp. 480-490
Lars von Trier and Danish Dogma 95 18) November 14 Film: The Celebration by Thomas Vinterberg (1998) Readings: Peter Schepelern: After ‘The Celebration’ Cook, pp. 452-454
European Postmodernism 19) November 17 Film: Talk To Her by Pedro Almodovar (2002). Readings: Adriana Novoa: Who’s Talk is it? Almodovar and the fairy tale in Talk to Her Birger Langkjær: Moral Twists of Perversion - Emotional Engagement and Morality in Relation to Pedro Almodovar's Talk to Her Cook, pp.460-463
Italian Cinema in the New Millennium 20) November 21 Film: The Great Beauty by Paolo Sorrentino (2013) Readings: Eugenia Paulicelli: ‘After La Dolce Vita: La Grande Bellezza (2013) by Paolo Sorrentino’ Cook, pp. 424-444
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
The Greek Weird Wave 21) November 28 Film: The Lobster by Yorgos Lanthimos (2015) Reading: Marios Psaras: The Queer Greek Weird Wave. Ethics, Politics, and the Crisis of Meaning Afroditi Nikolaidou: Performative Aesthetics of the ‘Greek New Wave’ Cook, pp.529-530
Wednesday, November 29, 1-4 pm, Field Study: Watching Toni Erdman (2016, 156 min.) in The DIS Movie Theatre
The Berlin School 22) December 1 Film: Toni Erdmann by Maren Ade (2016) Reading: Marco Abel: The Counter-Cinema of The Berlin School Rajendra Roy: The Berlin School. Films From The Berliner Schule Cook, pp.463-479
23) December 5 Newest trends in European Cinema, Conclusion and Summary of the Course Note: Last day for handing in the Research Paper!
Final Exam TBA
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies
Final Syllabus
Toni Erdmann (Maren Ade, 2016)
History of European Film | DIS – Study Abroad in Scandinavia | Major Disciplines: Communication, Film Studies, Media Studies