Primary texts (films):
Andersson, Roy: Songs from the Second Floor (S?nger fr?n andra v?ningen) (2000)
Fares, Josef: The Best Man's Wedding (Jalla! Jalla!) (2000)
Jensen, Knut Erik: Cool and Crazy (Heftig og begeistret) (2001)
Johnsen, Sara: Upperdog (2009)
Kaurism?ki, Aki: The Man without a Past (Mies vailla menneisyytt?) (2002)
Leth, J?rgen & Lars von Trier: The Five Obstructions (De fem bensp?nd) (2003)
Lien, Jens: The Bothersome Man (Den brysomme mannen) (2006)
Metz, Janus: Armadillo (2011)
Olin, Margreth: Raw Youth (Ungdommens r?skap) (2004)
Poppe, Erik: Troubled Water (DeUsynlige) (2008)
Robsahm, Thomas et al.: Utopia – Nobody is Perfect in the Perfect Country (Folk flest bor i Kina) (2002)
Trier, Joachim: Reprise (Reprise) (2006)
Articles (articles marked with an asterisk are in the course reader):
Bordwell, David & Kristin Thompson. "Ch. 8: Documentary". In: Film Art: An Introduction. 7th ed. Boston: McGraw-Hill 2004: 128-46.*
Dancus, Adriana Margareta. "Film and Pathoscapes: A Study of Upperdog (Sara Johnsen, 2009)". Manuscript submitted for publication; forthcoming.
Hjort, Mette. ”From Epiphanic Culture to Circulation: The Dynamics of Globalization in Nordic Cinema”. In: Andrew Nestingen and Trevor G. Elkington (eds.): Transnational Cinema in a Global North, Nordic Cinema in Transition. Detroit: Wayne State University Press 2005: 191-218.*
Iversen, Gunnar. “The Old Wave: Material History in Cool and Crazy and the New Norwegian Documentary”. In: Claire Thomson (ed.): Northern Constellations. New Readings in Nordic Cinema. Norwich: Norvik Press 2006: 175-88.*?
Lindqvist, Ursula. "Roy Andersson’s Cinematic Poetry and The Specter of César Vallejo". Scandinavian-Canadian Studies / Etudes scandinaves au Canada. 19(Special issue on Nordic cinema)2010: 200-229.
Livingston, Paisley. "Artistic Nesting in The Five Obstructions". In: Mette Hjort (ed.): Dekalog. On the Five Obstructions. London: Wallflower 2008: 57-75.*
Nestingen, Andrew. “The Home and the Container”. In: Crime and Fantasy in Scandinavia. Fiction, Film, and Social change. Seattle: University of Washington Press 2008: 140-53.*
Oxfeldt, Elisabeth. "Literary Intertextuality in Harald Rosenl?w Eeg and Erik Poppe's deUSYNLIGE. Edda 1/10: 64-80.
Rees, Ellen. “Personal Ideology and Collective Cinema: Folk flest bor i Kina and Contemporary Norwegian Political Consciousness”. In: Claire Thomson (ed.): Northern Constellations. New Readings in Nordic Cinema. Norwich: Norvik Press 2006: 97-110.*
Rees, Ellen. “Norwave: Norwegian Cinema 1997-2006”. Scandinavian-Canadian Studies / ?tudes Scandinaves au Canada Vol. 19 (2010): 88-110.
Schepelern, Peter. “Film according to Dogma: Ground Rules, Obstacles, and Liberations”. In: Andrew Nestingen and Trevor G. Elkington (eds.): Transnational Cinema in a Global North, Nordic Cinema in Transition. Detroit: Wayne State University Press 2005: 73-107.*?
Sim, Gerald. "A Gray Zone between Documentary and Fiction: Interview with Janus Metz". Film Quarterly. 1/2011: 17-24.
Soila, Tytti, Astrid S?derbergh Widding and Gunnar Iversen. “ Film Production as a National Project”. Introduction to: Nordic National Cinemas. London: Routledge 1998: 1-6.*
Sontag, Susan. "In Plato's Cave". In: On Photography. New York: Anchor Books Doubleday 1990: 3-24.
Wright, Rochelle. “’Immigrant Film’ in Sweden at the Millennium”. In: Andrew Nestingen and Trevor G. Elkington (eds.): Transnational Cinema in a Global North, Nordic Cinema in Transition. Detroit: Wayne State University Press 2005: 55-72.*