校際選修

115-1 選課時程

進行中

  • 初選第一階段 6/15/2026
  • 初選第二階段 6/22/2026
  • 校際選修 8/24/2026
  • 初選第三階段 8/31/2026
  • 開學後加退選 9/7/2026
  • 逾期加退選 9/21/2026
選課資源

科幻電影與文化

Science Fiction Film and Culture

學期
110-2
學分
3 學分
當期課號
5780
永久課號
ILC5290
開課單位
外國語文學系外國文學與語言學碩士班
授課教師
包德樂
校區
光復
類別
選修
上課時間表
週四
5
13:20–14:10
科幻電影與文化
HC401
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

概述

Focus: Analyzing and historicizing SF TV series This course provides an introduction to science fiction studies, focusing primarily on television production, reception, and fan cultures by engaging established and emerging critical readings of sf filmography. This course aims to prepare students for conducting further research in this subfield of film studies and cultural studies from a literature/film perspective, which can include media studies and communications; discourse analysis (for instance of fan cultures and social media phenomena); ethical, political, ecological and philosophical interrogations; and questions regarding the relation of (plausible) science to science fiction filmography, one of the most popular TV and film genres today. When films are based on works of science fiction literature, reference to these works of fiction may be made, yet close reading of these texts remains beyond the focus of this course. However, the central role of script writing and revising in the production process will be acknowledged and actual scripts may provide research materials supplementing TV series episodes and related filmic intertexts. We will attempt to broaden the scope of this course beyond American and British TV series (the focus), certainly including work from Japan at length, but also from South Korea, Taiwan, Russia, Brazil, Germany, and other EU countries. One of the recurrent themes that will be used to provide focus to an otherwise sprawling genre will be to investigate biological and technological gender constructs in relation to narrative framing, point of view characters, backstories, worldings, and mappings onto contemporary (to the production date zeitgeist) issues (whether political, ecological, social, economic, medical, robotic, etc.).

先修科目

No special prerequisites. Course is conducted in English. The course is open to all students junior (大3) or above.

評分方式

Grading Criteria Contribution to class discussion and leading discussion on selected assigned readings: 25% Presentation on original topic: 25% Final paper (may be developed from presentation): 50% Attendance: -2 from final grade for each unexcused absence. Even when excused, a make-up assignment is required to avoid the “-2,” such as a short essay about the readings on the day missed. 2.教學方法及教學相關配合事項(如助教、網站或圖書及資料庫等) Seminar (dialogue, student presentations, lecture, discussion). Class community critique of critical essays read for a give class, with a cumulative sense of refining our strategies for approaching TV sf series. Preview/discuss TV series clips.

週次計畫
週次主題
第 1 週Introduction to science fiction: from literary to cinematographic cultures Introduction to issues in science fiction studies Politics and SF: Snowpiercer (TV Series, 2020–present)
第 2 週Framing SFTV and SF as thought experiments: Black Mirror (TV Series, 2011–2019) Readings: “The Cyborg Manifesto” (excerpts), Donna Haraway Connected: What it Means to Live in Network Society (excerpts), Steven Shaviro
第 3 週SF TV Series: 1950-1965 Flash Gordon (TV Series, 1954-1955) The Outer Limits (TV Series, 1963-1965, 1995–2002) The Twilight Zone (TV Series, 1959-1964, 1985–1989, 2001-2003, 2019–2020) Readings: “Shadows on the Cathode Ray Tube: Adapting Print Science Fiction for Television,” Lisa Yaszek “From Big Screen to Small Box: Adapting Science Fiction Film for Television,” Gerald Duchovnay “Reflections of a Nation's Angst; or, How I Learned to Stop Worrying and Love The Twilight Zone,” Novotny Lawrence
第 4 週SF TV Series: 1965-1970 Lost in Space (TV Series, 1965-1968, 2018–2021), Star Trek (TV Series, 1966-1969), The Invaders (TV Series, 1967-1968) Readings: “Lost in Space: Television as Science-Fiction Icon,” J.P. Telotte. “The Politics of Star Trek,” M. Keith Booker “The Limits of Star Trek’s Final Frontier: ‘The Omega Glory’ and 1960s American Liberalism,” Allan W. Austin
第 5 週SF TV Series: 1974-1980 Planet of the Apes (TV Series, 1974), The Six Million Dollar Man (TV Series, 1974-1978), The Bionic Woman (TV Series, 2007), Logan’s Run (TV Series, 1977-1978) Readings: “Nationalism and Gender: The 1970s, The Six Million Dollar Man, and The Bionic Woman,” Tricia Jenkins “Lost in Translation: Autonomy, Agency, and Cybernetic Anxiety from Apollo to The Six Million Dollar Man,” Daryl Lee
第 6 週British SF TV Series (selection) Doctor Who (TV Series, 1963-1989, 1996, 2005-present) The Prisoner (TV Series, 1967-1968; TV Mini Series, 2009), UFO (TV Series, 1970-1971), Space: 1999 (TV Series, 1975-1977) Readings: “It’s About Tempus: Greece and Rome in ‘Classic’ Doctor Who,” Antony Keen “Looking Glass War: The Topsy-Turvy World of The Prisoner,” Bryan E. Vizzini
第 7 週Battlestar Galactica (TV Series, 2004–2009) Better Than Us (TV Series, 2018-2019) Readings: “The Battle for History in Battlestar Galactica,” Janice Liedl “Fraking Machines: Desire, Gender, and the (Post)Human Condition in Battlestar Galactica,” Susan A. George
第 8 週Questions concerning time travel, AI, politics, and the apocalyptic Terminator: The Sarah Connor Chronicles (TV Series, 2008–2009) 12 Monkeys (TV Series, 2015–2018) Continuum (TV Series, 2012–2015) Sijipeuseu: The Myth (TV Series, 2021–present) Timeless (TV Series, 2016–2018) Readings: “Some paradoxes of time travel in The Terminator and 12 Monkeys,” William J. Devlin. “Terminator-fear and the paradox of fiction,” Jason Holt Life 3.0: Being Human in the Age of Artificial Intelligence (excerpts), Max Tegmark
第 9 週Gender and society in science fictional visions and deconstructions: Westworld (TV Series, 2016-present) Readings: “Violent Births: Fanon, Westworld, and Humanity,” Anthony Petros Spanakos “The Observer(s) System and the Semiotics of Virtuality in Westworld's Characters: Jonathan Nolan's Fictions as a Conceptual Unity,” Patricia Trapero-Llobera
第 10 週Star Trek from the 1980s to the present Readings: "The Future as Past Perfect: Appropriation of History in the Star Trek Series," Judith Lancioni "Poles Apart: Future Time, Deep Space Nine and Enterprise's 'Faith of The Heart’," Lincoln Geraghty
第 11 週Gender and Politics: Taiwan and America The Handmaid's Tale (TV Series, 2016-2017). On Children (你的孩子不是你的孩子) (2018-) Readings: "Virtual bodies and flickering signifiers," N. Katherine Hayles “The Handmaid’s Tale as Ustopian Allegory: ‘Stars and Stripes Forever, Baby’,” Heather Hendershot
第 12 週Transhumanism Altered Carbon (TV Series, 2018–2020) Quirky space opera in SFTV Farscape (TV Series, 1999–2003) Firefly (TV Series, 2002–2003) Readings: “‘You can Be More’: Farscape, Melodrama, and Space Opera Revisited,” Carlen Lavigne "Making Up Worlds," Damien Broderick
第 13 週Key Japanese science fiction anime Cowboy Bebop (TV Series, 1998-1999, 2021-present) Neon Genesis Evangelion (Shin seiki evangerion; TV Series, 1995–1996) Serial Experiments Lain (TV Mini Series, 1998) Psycho-Pass (TV Series, 2012–present) Parasyte: The Maxim (Kiseijû: Sei no kakuritsu; TV Series, 2014–2015) Readings: “When the Machines Stop: Fantasy, Reality and Terminal Identity in Neon Genesis: Evangelion and Serial Experiments: Lain,” Susan Napier
第 14 週Hard SFTV The Expanse (TV Series, 2015-present) The 100 (TV Series, 2014–2020) The Silent Sea (TV Series, 2021-present) Readings: “Solar Accumulation: The Worlds-Systems Theory of The Expanse,” Brent Ryan Bellamy and Sean O’Brien
第 15 週Postmodern SFTV X-Files (TV Series, 1993–2018) Lost (TV Series, 2004–2010) Squid Game (2021-present) Readings: “Mainstreaming Marginality: Genre, Hybridity, and Postmodernism in The X-Files,” Lacey Hodges
第 16 週Student presentations of final papers
教科書

Course Readings Course readings are provided by the professor or if necessary placed on reserve in the library. Suggested: a subscription to Netflix ("Standard"--can be cancelled after course ends).

Office Hours
地點
HC415 (also known as HSS or HA Bldg. 3 on some campus maps)
時間
Wednesdays 1-3pm; and by arrangement
聯絡方式
interpoetics@gmail.com