法蘭克福學派論電影、現代性與大眾文化

This course introduces students to the Frankfurt School’s theories on cinema, modernity, and mass culture. We will mainly focus on the work of what Miriam Hansen called “the other Frankfurt School,” including Siegfried Kracauer, Walter Benjamin, Theodore Adorno, Oskar Negt, and Alexander Kluge. We will also read contemporary film theorists' and Humanities theorists’ work, including Thomas Y Levin, Miriam Hansen, and Andreas Huyssen. In addition to theory texts, we will also watch selected film texts, so that students who do not have training in film studies and film history can have a sense of what these theorists really mean and why they are so concerned with the role of cinema and mass culture in the experience of modernity. We will also have 2-3 sections in which contemporary filmmakers are invited to present their work or work-in-progress with students. 本課主題為法蘭克福學派論電影、現代性與大眾文化。 我們主要會聚焦於Miriam Hansen稱之為 "the other Frankfurt School"的理論家,包括Siegfried Kracauer, Walter Benjamin, Theodore Adorno, Oskar Negt與 Alexander Kluge. 我們也會精讀當代電影與人文理論如何由對法蘭克福學派的重新研究出發, 思索電影與大眾文化問題;在這個部分,我們會讀Thomas Y Levin, Miriam Hansen, 與Andreas Huyssen等。 除了精讀理論文本,修課學生也會觀看與討論20世紀上、下半葉之電影影像,以求真正了解法蘭克福學派理論的歷史性與社會性;此實踐對沒有受過電影史與電影研究訓練的學生來說,尤其重要。此外,修課學生亦可能有機會與當代影人對話,並由此思辨法蘭克福學派理論的當代意義。

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1. This course is taught bi-lingually, in English and Chinese. 雙語授課。 2. We have a virtual class discussion board 課程討論空間: https://1082frankfurtschool.slack.com 3. No auditors, please. For those who wish to attend the class virtually, please contact the course instructor by email. 原則上不接受旁聽。課程提供同步教學,有需求的同學必須事先與教師聯絡。

This is a graduate seminar—which means that students are expected to be active participants of the class (no passive consumers, please.) 1. In-class presentation and discussion: 20% Each week, students should take turns to present their reading of weekly assigned materials. Those who are not presenting should also read the materials in advance and participate in class discussion. (I strongly encourage you to post your notes of weekly readings on Slack.) For the weeks when we have screenings, students should also take notes while watching films and share their notes on Slack. * Those who are absent for more than 3 times without a good reason will get a “zero” grade for this item. 2. Mid-term analytical essay: 20% Students will have to write an analytical essay of a course reading (that is, a theoretical text.) /Length: 2,500 words in minimum; 2,000 words if written in English. For students of the undergraduate level: 2,000 words (in Chinese) or 1,500 words (in English). 3. In-class presentation of final project: 20% Each student will present a talk on their final project at the end of the semester. 4. Final Project: 40 % *Students who take this course have two options to pursue their final projects: 4.1) For students who want to write a term-paper: Please write a paper of 20-25pages (For undergrad students: 15 pages). Please use the theories we learn in class to analyze films, moving-image arts, or any art texts or media texts of your selection. You may also use films, moving-image works, or other forms of artwork to complicate or problematize theory in your paper. 4.2) Those who have a background in art-making may produce A) an artistic discourse for their work of art, or B) make a video essay or an essay film, design a computer game, or make an art-work of any form, provided they discuss with the course instructor in advance.

時間

Friday afternoons.

聯絡方式

hjtsai1@nctu.edu.tw