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I chose to analyze the movie My Big Fat Greek Wedding. This film is entirely centered around cultural exchange. The two main characters, Toula and Ian, fall and love and decide to get married, however, they discover that their differences in cultural backgrounds becomes more of a challenge then they initially anticipated. Ian is a white American living in Chicago and Toula is a Greek American; however, most of her family recently moved to the States and they are still very proud of their Greek heritage and have not completely found their place yet in the U.S. Being Greek was a huge part of her upbringing and her family upholds and values a lot of Greek practices and traditions.��

In this clip, Ian’s parents are meeting Toula’s huge Greek family for the first time. Toula’s aunt (the woman with the red patterned shirt on) welcomes Ian’s parents, however, there is immediately a cultural disconnect. Ian’s parents present a bundt cake as a welcoming gift, however, Toula’s family does not understand what the English word “bundt” means, how to pronounce it, or why there is a hole in the cake. There is an uncomfortable exchange where Ian’s mother repeats over and over again how to pronounce the word while Toula’s aunt fumbles with the word. In other parts of the film, Toula’s family and Ian’s try to learn and understand each other’s customs such as the stereotype of having a huge loud Greek family versus a small American white family that is quiet. Additionally, the couple deals with the fact that Toula’s father is unhappy with her marrying a man who is not Greek.

The film handles the cultural exchange in a comical way. The director certainly over exaggerates each family’s customs. The plot is all about accepting differences and learning about each culture no matter how “foreign” they may seem. Both families are willing to bend their traditional ideas of who each Toula and Ian should marry (that being a Greek man and a white American woman) for the couple. The film is centered around the difficulties both families have adapting and accepting the other family’s culture, however, they make it work because they each love Toula and Ian very much. This is problematic because it shows just how prejudiced each family is against the other ethnic group, and I think the film does this intentionally to show that many Americans do hold stereotypes around certain racial groups. It is only when marriage with another ethnic group is in the question that these stereotypes and uncertainties come out. The Greek characters in Toula’s family are portrayed very stereotypically Greek and almost uneducated because their English is not perfect while the White family is portrayed as “perfect,” and quite honestly bland and docile, yet in-line with American values. The visuals certainly support the overall theme. For example, Toula’s parents have a garage that is painted with the Grecian flag and they own a Greek that is decorated in blue and white. Tool’s family is presented in very flashy and sometimes revealing clothing while Ian’s family wears dark conservative clothing. These visuals tell the audience a lot about what to expect of each cultural group. 

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I chose to look at the opening sequence of the movie The Shawshank Redemption (1998). It will make the most sense if you view the video above first (sorry for the poor quality) and then the video below second. This American film is about a young man named Andy who is convicted for murdering his wife and the man she was sleeping with despite claims of innocence. Andy meets Red and eventually they form a strong friendship. The movie is about the struggle both Andy and Red faced before prison and their journey after. Just from these two videos depicting the opening scenes, we learn a lot about the setting. From the first clip where Andy sits in his car alone with a bottle of whisky and his pistol, the audience understands that the movie takes place in the U.S. during the 40′s or 50′s as a result of the jazz music playing which reflects the time period. Additionally, the viewer gains insight into the setting based on the burgundy car which is certainly reminiscent of the time frame as well as the clothing Andy wears. We learn from the scene in court that Andy is on trial for murdering his wife and the man she was cheating with. The audience quickly understands that the previous scene with Andy in the car with the pistol was a flashback to right before he committed the murder. The audience then understands that they are in real time as Andy’s court case unfolds where ends up losing and he is eventually proven guilty. 

The movie continues into the next scene where Andy arrives at prison after he lost his court case. Then, there is a narrator whom the audience does not know is a major character (Red) yet. The camera first shows Red on the grounds of the prison with his fellow inmates walking and performing every day tasks with a voiceover that describes his role in the prison as the go-to-smuggler for those who want certain items. Then the camera then pans out to show the front of the prison from very far away then zooms in closer following the bus that has about 12 new inmates--Andy being one of them. As the camera follows this bus, Red continues to narrate the scene as if he was telling a story looking back on the friendship between him and Andy. He says for example, “When I first met Andy I didn’t think much of him.” The next shot then shows Andy sitting in the back of the bus as Red’s narration describes who he is and why he was sent there. 

The audience gathers a lot from the rich opening sequence of this film. They understand through the narration strategy that they are passive viewers who are being told a story which already occurred. They are placed right in the middle of it, and they feel as if they know the narrator somehow. This understanding is reinforced since the movie is set during an earlier period of time--the 40′s--which is clear from the clothing, vehicles, and language. Based on the opening shots and scenes it is evident that the two friends met through prison and the audience is trying to catch up to understand what the story/truth is about Andy and how he and Red’s narratives will intertwine, however, they do not know this information yet. I think the director’s choice to start the film with a bus with the new prisoners and a shot of the prison from far away which then angles in so that the audience is placed right inside the prison allows them to feel like they are directly following the plot or story of Andy’s journey to prison. This is a good visual tool to draw in one’s audience and make them feel part of the action. 

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Multiple Perspectives on Christiania’s Church of Our Saviour

I chose to climb the Church of Our Saviour spire in Christiania. I have documented the church’s spire from the very top. I think that often, many Danes view the church on a daily basis, but do not always think about the view they see at the very top. As a result, I wanted to document the church from the very top from three different angles. This location could serve as a creative foundation for a narrative project in a number of ways. The narrative could involve someone who is afraid of heights who conquers their fear. It could involve characters who possibly are in conflict and who do not get along arguing all the way to the top. The height of the tower could highlight their differences and symbolize the peak of their unrest. The narrative could also be metaphorical in terms of reaching the climax of the spire just as the plot reaches the climax.

In the first photo, I have shown the stairs spiraling up to the top of the tower. In this photo, the view of the railing and the stairs are the primary focus of the image. The viewer can see beyond the railing, however, they need to look carefully through the gaps of the railing to see Copenhagen (specifically Amager) below. I intentionally pointed my camera downwards so that the viewer could see the process of climbing the tower and feel the anticipation as they near the top. This invokes excitement and it documents the effort and exertion that people who climb the church’s spire experience. It puts the viewer right in the climber’s shoes.

In the second photo, the camera is moved slightly upward to demonstrate the same view as the first photo just without the obstructed view of the railing. The viewer can see the wind turbines in the distance and the rooftops of the buildings in Copenhagen. The viewer feels a sense of openness. Almost as if there is endless opportunity. It is a very exhilarating and freeing feeling to look out at the city from such a high distance.

In the third and final photo the viewer notices just how far they have come. They have reached the very top of the tower where they cannot walk any further. The viewer comprehends that the photographer is very high in the sky since the top of the spire is so close and looks very large in comparison to viewing the golden dome from ground level. The golden dome looks huge in comparison to the railing which makes the image all the more intense. There is a sense of achievement in this photo as well as wonder. The reason I say there is wonder is because the photographer cannot climb any higher--they have reached the end. This makes the viewer wonder what the city may look like from an even higher perspective and it could possibly leave them wanting to know more about the place and the narrative behind the photos.

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I chose to explore the works of Peter Madsen for my visual artist. Madsen is a cartoonist from Aarhus. He has won multiple awards for his cartoons, illustrations, and writing. Additionally, during the 1970s, he was one of the leading figures behind the revival of the Danish cartoon tradition. I chose Madsen because he is renowned in Scandinavia, and his cartoons are truly captivating. I have always found Greek and Roman mythology absolutely fascinating, and when I saw Madsen’s comic book series, Valhalla, which includes 15 Nordic mythology stories, I immediately was sold. I think that even though myths are not real, to many way back when they were told, they seemed real. To the Greeks, for instance, Greek Gods and Goddesses were not myths at all--they were divine beings that many looked up to and many aspired to live by their messages and teachings despite their flaws. Greek mythology at its prime was its own religion in a sense. 

I did not know that Nordic mythology existed, but when I found Madsen’s comic book series online, I immediately became interested. I discovered that there were many Nordic mythical gods and goddesses as well. Although Madsen’s cartoons are in Danish, the great thing about comics is that they have illustrations. You can tell a lot about what is happening in a comic based on the pictures. The story that I looked at is the 15th and final chapter of Valhalla called The Sibyl’s Visions. I have attached a picture above from this comic. The story takes place during the coldest winter that any god can remember. The changes of seasons have stopped and it is permanently winter. While all the other gods and heroes are fighting the evil giants, the dangerous wolf called Fenris-Wolf is on the loose and needs to be tamed. The human girl Roskva is in charge of this task since all the other mythical beings are preoccupied. Although she struggles, she succeeds in the end. 

Madsen’s graphics truly illustrate a visual narrative through the detailed illustrations and the text which accompanies them. Even from the illustration above, the reader can feel the terror and might of the giant Fenris-Wolf and the fear that Roskva experiences as she is hurled aside by his powerful roar. A variety of emotions and thoughts are invoked with Madsen’s cartoons. I believe this truly accomplishes a good visual narrative. When readers become consumed by the plot, and when they become emotionally invested in the characters and the story, the narrative truly has a compelling effect on its audience. I think that Madsen’s style is very unique in that the illustrations are simple, but extremely detailed. They often have darker colors, and there isn’t very much text since the illustrations speak for themselves. His work is truly remarkable, and I believe that he is a great example of a true visual storyteller. 

Here is a link to his website which includes images from some of his cartoons from his book Valhalla as well as images and information for a number of his other works: http://www.petermadsen.info/pages/vh/valhalla-eng.html

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The person that I chose to speak to was a Papirøen Street Market Vendor named Jack. Jack started out as a regular employee a couple years ago and now he is the manager of two food trucks at Papirøen named The Fish Art and Korean Street Food. 

“I started working here as a regular employee, I didn’t have any expectations because I didn’t know what Papirøen was all about. I kinda needed a job basically, so I started. Now, I’m the manager of this place and that place over there and expectations are...Wow. Expectations are fulfilled. I mean, I didn’t know this place was so massive...so great. I mean it’s a clash of cultures, many people from many places, and also the people working here--it’s not only Danish people. It’s a challenge I would say.”

I think that this quote truly gives insight as to who Jack is and how important he finds his job. From this quote, you can tell how appreciative he is and how spectacular he finds Papirøen. 

I chose both of these photos of Jack to depict him in his every day environment at the Copenhagen street markets. In the photo, he is behind the counter working and preparing for the large numbers of customers who will soon come in for the evening’s meal. As the manager, he spends a lot of time working at Papirøen, and I definitely think he enjoys the experience. Although he seems intimidating from both of the pictures above, he actually is very comical and welcoming once you speak to him. I was nervous to approach him at first, but he was very friendly, and he loved speaking about his job, which I really appreciated. From the conversation I had with him, I immediately noticed how passionate he was about his job and how much he enjoys his work. He has sort of a go-with-the-flow attitude, yet I think his intimidating exterior stems from his drive to work hard and succeed.

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The Daily Commute

This video represents the daily commute of people in Copenhagen. Most people own bikes, some walk, others drive, take the bus, metro, S train, or some combination of various methods of transportation. I find the transportation in Copenhagen to be very significant in my intercultural experience abroad. At my home institution, I walk almost everywhere. In my hometown, I drive almost everywhere. However, in Copenhagen I take the metro every day and I walk most places. This is something that I am not used to, but I have adjusted to very quickly. Usually when I take the train at home it is to go into the city (at home I take the train to Chicago and at school I take the train to Boston). I am realizing now that for my entire life I have always lived on the outskirts of major cities--never actually within a major city. I really appreciate the opportunity I have here in Copenhagen to live in the city. This allows me to try new forms of transportation that I have experienced only occasionally in the U.S. I find my morning commute relaxing, and I love spending the time either listening to music or reading a book. I never have free time to read for pleasure at home, and Copenhagen has broadened my horizons and allowed me to do the things I love, like reading, which I never would’ve made the time for otherwise if I did not have the daily commute. 

A striking difference that I have noticed between Copenhagen and the U.S.’s public transportation is that on most of the trains and buses in Copenhagen everyone is fairly quiet. This may be because Americans, for the most part, are thought to be loud, but even on a Saturday night when there is a group of Danes on the metro, they keep their noise level to a minimum level. This is very different from the U.S. where often people have conversations on the phone, have loud conversations with one another, and blast music through their earphones on public transportation. I think this video symbolizes the unity of Danish culture. Whether it is because local Danes care about the environment, find public transportation easy, or believe that is is the cheapest form of transportation is irrelevant. When it comes down to it, mostly everyone chooses to use public transportation. This demonstrates that Danes are very unified in this regard as well as many other Danish customs that I have observed (wearing black clothing, sitting quietly on public transportation, and not walking before the walk sign turns green). The welfare system also represents the unification and the support that the society as a whole feels is so essential to its’ functioning that they have incorporated these values into their political and educational systems. 

This “unity” theme will certainly play a role in my final project. I will try to find and document other examples of unity in Danish culture--some of which I have previously mentioned. This unity is not to be mistaken with racial homogeneity. The unity theme I am referring to here is particularly about Danish customs and practices. Images are often more than they what they appear to be; they often symbolize more than what we see at first. Barthes (1977) explains this notion further, “We have seen that in the image properly speaking, the distinction between the literal message and the symbolic message is operational; we never encounter a literal image in a pure state” (p. 42). I think this statement is very powerful, and it is important to understand that there are further abstract concepts and symbols that lay underneath the surface of an image or video. The daily commute in Copenhagen is just one example where there is more to understand and analyze than what we see on a daily basis which may be taken for granted.

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See the various pictures for their captions.

Copenhagen has a unique street food area called Papirøen, or in English “Paper Island.” It is a hub for many tourists who visit Copenhagen as a result of its prime location on the harbor, its view of the Opera and the Royal Playhouse house, and its proximity to Christianshavn. Paper Island is currently an indoor facility (since it is winter) that houses a plethora of different cuisines in food trucks. Its’ visitors can choose from a 39 different food stalls, trucks, and bars ranging anywhere from falafel to pulled duck to creme brûlée donuts. When the weather is warm, visitors can sit outside and enjoy the sunlight while listening to music from a live band. 

Although some may argue that Copenhagen is homogenous, the Copenhagen Street Food on Paper Island is unique in that it represents the diversity of ethnicities and cultures in Denmark through cuisine. For my group’s documentary project, we have decided to focus on the atmosphere of the Copenhagen Street Food on Paper Island. We plan to address its upcoming closing this year and relocation to a different spot. We want to interview various visitors and staff of their opinions on this matter. We also want to document the night life, the interactions and experiences of staff who work there, and the  various cuisines offered at Paper Island. Additionally, we want to look into the history of Paper Island and report how much of an impact the upcoming move will have on the customers and the staff as well as local Danes. 

Since this may be one of the last opportunities to document this site while it is still in its current location, we plan to take a more narrative route with creative visuals to commemorate its closing. Juel (2006) describes many strategies that documentaries can take in Defining Documentary Film. We aim to use the strategy “Illumination of the truth” to fully enlighten our audience on what the Paper Island is and its significance to Copenhagen. Additionally, we chose to film a documentary about Paper Island because as Nichols (2001) mentions in What are Documentaries About?, often documentaries address debated concepts or contested issues. In this case the hot topic would be the closing and relocation of Paper Island. 

see various articles for more information on the Copenhagen Street Food and its upcoming closing:

http://copenhagenstreetfood.dk/en/about-copenhagen-street-food/

http://copenhagenstreetfood.dk/en/about-copenhagen-street-food/

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The visual narrative that I usually find most inspirational and motivating is the dynamic video (DVN) so it is only natural that I have chosen to use a dynamic video for the final project. This video really captured my attention and peaked my interest. I found this example particularly inspirational because it showed a different culture (I believe it is either Ireland or Scotland) in about four different video clips that were repeatedly edited together to the rhythm of the music. The scenes included a scene in a pub, a ceramics studio, a field of flowers/nature/woods, and a band with various instruments. The music was representative of the culture, and it truly made you feel like you were there in the present. The final effect produced what I believe is a piece of art that incorporated the most simple parts of the culture into one piece. The video was edited beautifully, and it captured what felt like various individuals’ every day experience in their culture. This is very similar to what I want to do for my final project, but instead, I would like to display Copenhagen. I hope to show various videos of every day life in Copenhagen such as riding the metro, a coffee shop that embodies hygge, someone riding a bicycle, a day at a forest preschool, and other clips from every day life. This video has inspired me to try to do something similar to represent Copenhagen in it’s most accurate light. I plan to include various scenes and speeding/slowing the music to the rhythm of the video clips in my final piece. The final product may not come anywhere close to this video, but I would like to experiment to my best ability. I will try to integrate different styles and various details of this video to my own, such as including a song that embodies what feels like Denmark, repeating the video clips, and using scenes that contrast one another both in terms of the image speed and the color.