影像媒介文化
Visual Media and Cultures
學期
107-2
學分
3
學分
當期課號
B723
永久課號
A8533
開課單位
亞際文化研究國際碩士學位學程(台灣聯合大學系統)
授課教師
勞維俊
校區
陽明
類別
選修
上課時間表
| 節 | 週二 |
|---|---|
5 13:20–14:10 | 影像媒介文化 YX322 3 節連堂 |
6 14:20–15:10 | |
7 15:30–16:20 |
* 根據陽明交大上課時間表所列
週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | 1. 課程導論: 說明上課方式與評分標準 影像之前世今生 閱讀範圍: Mitchell, W.J.T. ‘What is an Image?’ New Literary History, vol. 15, no.3, Image/Imago/Imagination, Spring 1984, pp. 503-537. |
| 第 2 週 | 2. 媒體與文化: 冷與熱 閱讀範圍: Marshall McLuhan, Understanding Media: The Extensions of Man, McGraw-Hill, 1964, pp. 7-35 (ch.1-2) [中文譯本參考: 麥克魯漢,《認識媒體》, 鄭明萱譯, 貓頭鷹出版社, 2015.] 參考?讀: Marquard Smith, ‘Visual Culture Studies: Question of History, Theory, and Practice.’ The Art of Art History: A Critical Anthology, edited by Donald Preziosi, Oxford UP, 2009, pp. 455-67. |
| 第 3 週 | 3. 攝影的歷史與本質 閱讀範圍: Susan Sontag, ‘The Image-World,’ On Photography, Anchor Books, 1989, pp. 153-182. [中文譯本參考:蘇珊桑塔格,《論攝影》, 黃燦然譯, 麥田, 2010.] 參考?讀: Walter Benjamin, ‘Little History of Photograph,’ The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, translated by Harry Zohn, Fontana Press, 1968, pp. 274-298. [中文譯本參考:班雅明,〈攝影小史〉,《迎向靈光消逝的年代》, 許綺玲譯, 台灣攝影, 1998.] |
| 第 4 週 | 4. 攝影之社會功用及其批判 閱讀範圍: John Berger, ‘Appearances,’ Understanding a Photograph, edited and introduced by Geoff Dyer, Penguin, 2013, pp. 61-98. [中文譯本參考:約翰伯格,《攝影的異義》, 吳莉君、張世倫、劉惠媛譯, 麥田, 2016.] John Berger, ‘Political Uses of Photo-Montage,’ Understanding a Photograph, edited and introduced by Geoff Dyer, Penguin, 2013, pp. 23-29. [中文譯本參考:約翰伯格,《攝影的異義》, 吳莉君、張世倫、劉惠媛譯, 麥田, 2016.] Jeff Wall, A Sudden Gust of Wind (After Hokus) (1993), Transparency on lightbox, 2500 x 3970 x 340 mm, Tate, 1993, https://www.tate.org.uk/art/artworks/wall-a-sudden-gust-of-wind-after-hokusai-t06951. Accessed 3 Sep 2018. Faces Places (最酷的旅伴Visage villages, 2017), dir. JR and Agnes Varda. 參考?讀 : Nicholas Mirzoeff, ‘The Age of Photography (1839-1982),’ An Introduction to Visual Culture, Routledge, 1999, pp. 65-90. [中文譯本參考:Nicholas Mirzoeff,《視覺文化導論》, 陳芸芸譯, 韋伯文化國際, 2003.] Manchester, Elizabeth. ‘Summary.’ Jeff Wall’s ‘A Sudden Gust of Wind (After Hokus),’ Tate, 1993, https://www.tate.org.uk/art/artworks/wall-a-sudden-gust-of-wind-after-hokusai-t06951. Accessed 3 Sep 2018. |
| 第 5 週 | 5. 攝影與死亡與攝影之死 閱讀範圍: Roland Barthes, ‘The Photographic Message,’ in Image, Music, Text, translated by Stephen Heath, Fontanal Press, 1977, pp. 15-31. Roland Barthes, ‘The Third Meaning: Research Notes on Some Eisenstein Stills,’ in Image, Music, Text, translated by Stephen Heath, Fontanal Press, 1977, pp. 52-78, and still images I to XVI (between pp.128-129). 參考?讀 Roland Barthes, Camera Lucida: Relfections on Photography. Translated by Richard Howard, Vintage Books, 2000, pp. 40-60. [中文譯本參考:羅蘭巴特,《明室》, 許綺玲譯, 台灣攝影, 1997.] Philip Watts, Roland Barthes’ Cinema, Oxford UP, 2016, pp. 50-58. Kristin Thompson, ‘The Concept of Cinematic Excess,’ Film Theory and Criticism: Introductory Readings, edited by Leo Braudy and Marshall Cohen, Oxford UP, 1999. pp. 487-498. |
| 第 6 週 | 6. 電影史導論 閱讀範圍: Robert Stam, ‘The Essence of Cinema,’ ‘Soviet Montage-Theorists,’ ‘The Question of Film Language,’ ‘Cinematic Specificity Revisited,’ Film Theory: An Introduction, Blackwell, 2000, pp. 33-37, 37-47, 107-119, 119-123, respectively. [中文譯本參考:Robert Stam,《電影理論解讀》, 陳儒修、郭幼龍譯, 遠流, 2012.] 參考?讀 : Richard Allen, ‘Looking at Motion Pictures,’ Film Theory and Philosophy, edited by Richard Allen and Murray Smith, Oxford UP, 2003, pp. 76-94. |
| 第 7 週 | 7. 電影的觀看與接受理論 閱讀範圍: Malcolm Turvey, ‘Seeing Theory: On Perception and Emotional Response in Current Film Theory’ in Film Theory and Philosophy, edited by Richard Allen and Murray Smith, Oxford UP, 2003, pp. 431-457. |
| 第 8 週 | 8. 科技化影像媒介文化中的凝神與分心 閱讀範圍: Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproducibility,’ The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, translated by Harry Zohn, Fontana Press, 1968, pp. 19-55. [中文譯本參考:班雅明, 〈機械複製時代的藝術作品〉,《迎向靈光消逝的年代》, 許綺玲譯, 台灣攝影, 1998.] |
| 第 9 週 | 9. 期中口頭報告 |
| 第 10 週 | 10. 電影及其媒體限制: 菲林(電影膠卷)的思考 閱讀範圍: Rope (1948), dir. Alfred Hitchcock, 80 min. D.A. Miller, ‘Anal Rope,’ Representations, vol. 32, Autumn 1990, pp. 114-133. 參考?讀 D.A. Miller, ‘Hitchcock’s Understyle: A Too-Close View of Rope,’ Representations, vol. 121, no. 1, Winter 2013, pp. 1-30. |
| 第 11 週 | 11. 心理分析與女性主義電影理論 閱讀範圍: Vertigo (1958), dir. Alfred Hitchcock, 128 min. Susan White, ‘Allegory and Referentiality: Vertigo and Feminist Criticism,’ MLN, vol. 106, no. 5, Comparative Literature, December 1991, pp. 910-932. 參考?讀 Laura Mulvey, ‘Visual Pleasures and Narrative Cinema,’ Film Theory and Criticism: Introductory Readings, ed. Leo Braudy and Marshall Cohen. New York: Oxford UP, 1999. pp. 833-844. |
| 第 12 週 | 12. 類型電影的自我反省 閱讀範圍: 2001: A Space Odyssey (1968), dir. Stanley Kubrick, 142 min. Carl Freedman, ‘Kubrick’s 2001 and the Possibility of a Science-Fiction Cinema,’ Science Fiction Studies, vol. 25, no. 2, July 1998, pp. 300-318. |
| 第 13 週 | 13. 緩慢電影的社會批判與視覺藝術性 閱讀範圍: Stray Dogs (郊遊), dir. Tsai Ming-Liang 蔡明亮, 2013, 138 min. Song-yong Sing (孫松榮), Projecting Tsai Ming-liang: Towards Transart Cinema (入鏡|出境:蔡明亮的影像藝術與跨界實踐), Taipei: Wenan, 2014, pp. 158-183. 參考?讀 Song-Hwee Lim, Tsai Ming-liang and a Cinema of Slowness, Honoluu: U of Hawai’i P, 2014, pp. 11-42 (ch.1). [中文譯本參考:林松輝, 《蔡明亮與緩慢電影》, 譚以諾譯, 國立臺灣大學出版中心, 2016. |
| 第 14 週 | 14. 錄像?科技與文化 閱讀範圍: John Fiske, ‘Video Pleasures,’ Reading the Popular, Routledge, 1997, p. 77-93. 參考?讀 John Fiske, ‘Videotech,’ The Visual Culture Reader, edited by Nicholas Mirzoeff, Routledge, 2001, pp. 383-391. |
| 第 15 週 | 15. 錄像裝置藝術 校外教學 (Guided museum visit - details to be announced): Walker Enters the Dune (行者走進沙丘). Videos exhibited made and curated by Tsai Ming-Liang 蔡明亮, architecture designed by Huang Sheng-yuan (黃聲遠), Zhuangwei Dune (壯圍沙丘遊遊服務園區), video installation (錄像裝置), 2018. 閱讀範圍: Song-yong Sing (孫松榮), Projecting Tsai Ming-liang: Towards Transart Cinema (入鏡|出境:蔡明亮的影像藝術與跨界實踐), Taipei: Wenan, 2014, pp. 186-241. |
| 第 16 週 | 16. 新舊媒體的虛擬性 (Virtuality) 閱讀範圍: Nicholas Mirzoeff, ‘Virtuality: From Virtual Antiquity to the Pixel Zone,’ An Introduction to Visual Culture, Routledge, 1999, pp. 91-126. [中文譯本參考:Nicholas Mirzoeff,《視覺文化導論》, 陳芸芸譯, 韋伯文化國際, 2003.] Bill Viola 的作品 (待定) teamLab 的作品 (待定) 參考?讀 Bill Viola and Christian Lund, ‘The Tone of Being,’ Louisiana Channel, 2011, http://channel.louisiana.dk/video/bill-viola-tone-being Bill Viola, ‘The Movement in the Moving Image,’ The Doreen B. Townsend Center for the Humanities, UC Berkeley, 28 September 2009, lecture recording, https://www.youtube.com/watch?v=t0RCkNugozU |
| 第 17 週 | 17. 口頭報告 I |
| 第 18 週 | 18. 口頭報告 II與結語 |