影像媒介文化

【課程用書/參考資料】※ 請尊重知識產權,勿盜印?非法下載。(Required texts / References *Please respect intellectual property rights) 1. 課程導論: 影像之前世今生 (What Is an Image?) 說明上課方式與評分標準 (Introduction: course outline, teaching format and assessment) 閱讀範圍 (Required reading): Mitchell, W.J.T. ‘What is an Image?’ New Literary History, vol. 15, no.3, Image/Imago/Imagination, Spring 1984, pp. 503-537. 2. 媒體與文化: 冷與熱 (Media: Cold and Hot) 閱讀範圍 (Required reading): 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 (Recommended reading): 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. 3. 攝影的歷史與本質 (History and Essence of Photography) 閱讀範圍 (Further reading): 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.] 參考?讀 (Recommended reading): 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.] 4. 攝影之社會功用及其批判 (Photography’s Social Criticism) 閱讀範圍 (Required readings): 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.] 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 (Recommended readings) : 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. 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.] 5. 攝影與死亡與攝影之死 (Death and Photography, and the Death of Photography) 閱讀範圍 (Required readings): 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). 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.] 參考?讀 (Recommended readings): Roland Barthes, ‘The Photographic Message,’ in Image, Music, Text, translated by Stephen Heath, Fontanal Press, 1977, pp. 15-31. Philip Watts, Roland Barthes’ Cinema, Oxford UP, 2016, pp. 50-58. 6. 電影史導論 (Introduction to Film Studies) 閱讀範圍 (Required reading): 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. 參考?讀 (Recommended reading) : 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.] 7. 電影的跨媒介性 (Cinema’s Cross-Mediality) 閱讀範圍 (Required readings): Jean Ma, ‘Photography’s Absent Times’ in Still Moving Image: Between Cinema and Photography, edited by Karen Beckman and Jean Ma, Duke UP, 2008, pp.98-118. Giorgio Biancoross, ‘The Radio Broadcast as Anamorphic Spot,’ in Situated Listening: The Sound of Absorption in Classical Cinema, Oxford UP, 2016 pp. 73-98 參考?讀 (Recommended readings) : The Rules of the Game (La Regle du jeu, 遊戲規則) (1939), dir. Jean Renoir尚·雷諾瓦. The Eclipse (L’Eclisse, 蝕) (1962), dir. Michelangelo Antonioni安東尼奧尼. High and Low (Tengoku to jigoku, 天國與地獄) (1963), dir. Akira Kurosawa黑澤明. A City of Sadness (悲情城市) (1989), dir. Hou Hsiao-Hsien 侯孝賢. 8. 科技化影像媒介文化中的凝神與分心 (Mechanical Reproducibility of Image Culture: the Politics of Distraction) 閱讀範圍 (Required reading): 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.] 9. 期中口頭報告 (Mid-term oral presentation) 10. 電影及其媒體限制: 菲林(電影膠卷)的思考 (Cinema’s Mediality: Celluloid Reconsidered) 閱讀範圍 (Required readings): D.A. Miller, ‘Anal Rope,’ Representations, vol. 32, Autumn 1990, pp. 114-133. D.A. Miller, ‘Hitchcock’s Understyle: A Too-Close View of Rope,’ Representations, vol. 121, no. 1, Winter 2013, pp. 1-30. 參考?讀 (Recommended reading): Rope (1948), dir. Alfred Hitchcock, 80 min. 11. 心理分析與女性主義電影理論 閱讀範圍 (Required readings): Susan White, ‘Allegory and Referentiality: Vertigo and Feminist Criticism,’ MLN, vol. 106, no. 5, Comparative Literature, December 1991, pp. 910-932. 參考?讀 (Recommended reading): 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. Vertigo (1958), dir. Alfred Hitchcock, 128 min. 12. 類型電影的自我反省 閱讀範圍 (Required readings): 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. 13. 緩慢電影的社會批判與視覺藝術性 (Slow Cinema: Aesthetics and Social Criticism) 閱讀範圍 (Required readings): Louis Lo, ‘Enduring the Long-Take: The Dialectical Image and Tsai Ming-liang’s Stray Dogs,’ CLCWeb Comparative Literature and Cultures: Special Issue: Suffering, Endurance, Understanding, September 2019. Ackbar Abbas, ‘Poor Theory and New Chinese Cinema: Jia Zhangke’s Still Life.’ CTI Irvine Lecture. Critical Theory Institute, University of California, Irvine, 3 December 2008, pp. 1-15, https://www.humanities.uci.edu/critical/pdf/AbbasPoorTheoryStillLife.pdf. 參考?讀 (Recommended readings): 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.] 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. Stray Dogs (郊遊) (2013), dir. Tsai Ming-Liang (蔡明亮), 138 min. Still Life (三峽好人) (2014), dir. Jia Zhang-he (賈樟柯), 112 min. Lutz Koepnick, The Long Take: Art Cinema and the Wondrous. U of Minnesota P, 2017. 14. 錄像?科技與文化 (Video, Technology, Culture) 閱讀範圍 (Required readings): John Fiske, ‘Video Pleasures,’ Reading the Popular, Routledge, 1997, p. 77-93. John Fiske, ‘Videotech,’ The Visual Culture Reader, edited by Nicholas Mirzoeff, Routledge, 2001, pp. 383-391. 15. 錄像裝置藝術 (Video Installation) 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 (Required reading): 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. 16. 新舊媒體的虛擬性 (Virtuality and the Poor Image) 閱讀範圍 (Required readings): 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.] Hito Steyerl, ‘In Defense of the Poor Image,’ E-flux Journal, no.10, November 2009, https://www.e-flux.com/journal/10/61362/in-defense-of-the-poor-image/ Bill Viola, The Quintet of the Astonished (驚駭五人組), 2000. 參考?讀 (Recommended readings): 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 17. 口頭報告 I (Presentation I) 18. 口頭報告 II與結語 (Presentation II and Conclusion)

課程提供思考影像媒介文化的?史架構與理論根基,務求涵蓋影像文化的不同層面,諸如冷熱媒體對文化的影響,不同攝影和電影之社會用途,科技對影像媒介起的根本改變,影像媒介文化中的觀看哲學,靜態與動態影像如攝影?電影?錄像的發明?普及?與更新,以至於新媒體如網路遊戲?社交平台?虛擬現實 (VR) 等的觀看?接受?與參與方式的革命性改變等。課程帶領學生由淺入深,掌握影像媒體 (特別是攝影和電影) 的文化?史?問題?與分析方法。除了影像媒介文化的重要概念介紹和經典文章研讀外,課程有多個個案研究分析。學生當能把本課程學到的分析思考與研究方法運用到其他視覺文化研究的學科領域中。The course aims to provide the necessary historical and fundamental knowledge for understanding image media and culture. Aspects discussed include the influences of hot and cold media on culture, the social uses of different media, the impact of technology on human subjectivity and society, the philosophy of looking in image media and culture, as well as still and moving images such as photography, television, cinema, video. Apart from these relatively ‘traditional’ media, the course also discusses the changes in ways of looking, receiving, and the degrees of involvement in new media such as online games, social media, and virtual reality. The course aims to lead students to understand the cultural history and ways of examining issues in image media and culture by discussing classic essays and important concepts and by close reading case studies of different media. Studies should be able to employ what they have learned in this course to other subjects in the field of visual culture studies.

Please see the course outline.