流動影像技術歷史、文化與典藏
Moving Image Technology, Culture and Preservation
學期
110-2
學分
3
學分
當期課號
D774
永久課號
B2812
開課單位
視覺文化研究所
授課教師
王潔瑩
校區
陽明
類別
選修
上課時間表
| 節 | 週四 |
|---|---|
5 13:20–14:10 | 流動影像技術歷史、文化與典藏 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
概述
Series I: Film 電影 1. Course introduction; Brief discussion/debate on different media formats (課程介紹; 影像媒體技術歷史概觀與議題討論) 2. Film I (電影技術歷史 I) 3. Film II (電影技術歷史 II) 4. Film Archiving and Restoration (電影與典藏修復) 5. Fieldtrip (國家電影與視聽文化中心參訪) 6. Orphan films; Home movies; Discuss and assign mid-term assignment – Under-research moving images study (孤兒電影,家庭電影;期中報告簡介與分發) 7. Mid-term assignment presentation and report submission (期中報告演講) Series II: Video 錄像 8. Video I (錄像技術 I) 9. Video II (錄像技術 II) 10. Video preservation in the local context (在地錄像運動與保存) 11. Special topic: early Asian American media movement and archive & Final project consultation (早期亞裔美國社群的媒體運動與錄像紀錄 與 期末報告諮詢) Series III: Digital media 數位媒體 12. Special topic: MiniDisc – media format history and preservation (迷你牒的媒體格式歷史與保存) 13. Time-based media art (時基媒體/複合媒材媒體) 14. Digital media and preservation (數位媒體技術) Course Conclusion 結課部分 15. Hands-on session: Experimental film production (實驗電影製作工作坊) 16. Final assignment presentation (期末報告演講與報告呈交) 17. Flexible teaching schedule (彈性教學) 18. Flexible teaching schedule (彈性教學)
教學方式
本課程為研究所學生課程。本課程主要介紹和討論影像媒體的技術歷史、媒體技術發展對社會文化的影響、以及影像媒體典藏與修復等課題。影像媒體在現代社會無所不在,包括電影、錄影與聲音媒體、數位媒體、複合媒材媒體藝術等等。這些影像媒體不單是物質技術的呈現,更是重要的社會文化記憶載體。通過理論探討、專題討論、個案分析與必要的實作練習,學生將會從技術歷史與社會文化的面向對這些看似日常的媒體有更深入和批判性的了解,並且對影像媒體典藏與修復有基礎的認識。對於未來將會從事媒體創作或媒體藝術策展學生,這方面的知識將會是重要的理論與技術基礎。 課程專題包括:主要影像媒體的技術發展歷史;影像媒體技術帶來的社會文化影響;社會與影像媒體互動而衍生的各種思考問題;關於當代影像媒體典藏與修復倫理辯論;數位媒體的技術發展、使用經驗與保存問題;複合媒材媒體藝術(時基媒體藝術)的歷史發展與技術討論。
評分方式
1. 課堂出席及課堂討論互動: 30% ‧ 課堂導讀,課堂討論、映後討論、與客座演講嘉賓互動、實作練習 2. 小組期中口頭及書面報告: 30% ‧ 每個小組/個人將會對一段影片進行研究分析。該影片是缺乏足夠背景資料的被歷史遺落的影像素材。學生需要對該影片的媒體技術和歷史背景進行盡可能多的研究,並在完成研究後將研究成果發布。 ‧ 報告撰寫:中文3000~4000字(未含註腳與參考文獻) ‧ 口頭報告:15分鐘(含影片播放) 3. 個人期末書面報告: 40% ‧ 學生需要對一個老舊或不常見的影像媒體格式進行深入的研究,包括該媒體格式的技術層面,社會影響,社會接受度,與淡出市場的原因。完成研究後將成功在課堂報告。 ‧ 報告撰寫:中文不多於10,000字 (未含註腳與參考文獻) ‧ 口頭報告: 20分鐘
週次計畫
| 週次 | 主題 |
|---|---|
| 第 1 週 | (帶 * 號的閱讀材料為每週由同學導讀) Week 1 (2/17) Course introduction;Brief discussion/debate on different media formats (課程介紹;影像技術歷史概觀與當代議題) Readings: ‧ Museum of Obsolete Media https://obsoletemedia.org ‧ The challenge of archiving obsolete media, The Guggenheim Museum, https://www.guggenheim.org/blogs/findings/the-challenge-of-archiving-obsolete-media |
| 第 2 週 | Week 2 (2/24) Film I (電影技術歷史 I) Readings (required): ‧ “Determine film types”, “Learn about motion picture film”, “Explore the timeline”, Filmcare.org https://filmcare.org/about_film ‧ “More than a hundred years of film sizes”, https://wichm.home.xs4all.nl/filmsize.html ‧ Timeline of Historical Film Colors, https://filmcolors.org Readings (optional): ‧ National Film and Sound Archive, Technical Preservation Handbook (first 5 sections: Film Construction, Base Polymers and Decomposition, Gelatin, Image Forming Materials, Damage to Film) https://www.nfsa.gov.au/preservation/guide/handbook ‧ Library of Congress, “Care, Handling, and Storage of Motion Picture Film”, https://www.loc.gov/preservation/care/film.html |
| 第 3 週 | Week 3 (3/3) Film II (電影技術歷史 II) Readings (required): ‧ * Andreas Busche (2006), “Just Another Form of Ideology? Ethical and Methodological Principles in Film Restoration”, The Moving Image, 6(2), pp.1-29. ‧ Krista Jamieson (2015), “Ethical Film restoration and concepts of ‘original’”, Journal of Film Preservation, October, 11-16. Readings (optional): ‧ Annette Melville, ed. (2004), “Understanding Film and How It Decays”, The Film Preservation Guide, San Francisco: The Film Preservation Foundation, pp 6-18. https://www.filmpreservation.org/userfiles/image/PDFs/fpg_2.pdf In-class case discussion: ‧ AI up-scale restoration of Lumiere Brothers’ “The Arrival of a Train at La Ciotat Station” Read before class: https://www.openculture.com/2020/02/iconic-film-from-1896-restored-with-artificial-intelligence.html |
| 第 4 週 | Week 4 (3/10) Film Archiving and Restoration (電影與典藏修復) Readings (required) ‧ * Giovanna Fossati (2011), From Grain to Pixel: The archival life of film in transition, (read chapter “Framing Film (in Transition): an Introduction” pp.13-28) ‧ Ray Edmondson (2016), Audiovisual Archiving: Philosophy and principles (third edition), pp.1-10 Guest speaker (TBD): Film archivist/preservationist from Taiwan Film and Audiovisual Institute (國家電影與視聽文化中心) |
| 第 5 週 | Week 5 (3/17) Watch before visiting: ‧ Archiving Time (數電影的人) https://youtu.be/1jcpJWF-I2w (TBD) Fieldtrip: ‧ Taiwan Film and Audiovisual Institute (Xin Zhuang museum or Shulin archive) |
| 第 6 週 | Week 6 (3/24) Home Movies, Orphan Films Discuss and assign mid-term assignment – under-research moving image Readings (required): ‧ * Karen L. Ishizuka and Patricia R. Zimmermann (Ed.) (2007), Mining the Home Movie: Excavations in Histories and Memories (read “Introduction” pp.1-24) ‧ Paolo Cherchi-Usai (1999) “What Is an Orphan Film? Definition, Rationale and Controversy,” Transcription of a talk presented at the first Orphan Film Symposium, University of South Carolina, Columbia, Sept. 23, 1999, www.sc.edu/filmsymposium/archive/orphans2001/usai.html Readings (optional): ‧ Dan Streible (2007) The role of orphan films in the 21st century archive, Cinema Journal, 46(3), 124-128. ‧ Ben Kenigsberg, “At MoMA, Home Movies That Reveal the World,” New York Times, Oct. 17, 2019. ‧ Virtual Views: Home Movies, MoMA: https://www.moma.org/magazine/articles/276 Browse before class: Memories to Light – Asian American home movies https://archive.org/details/memoriestolight |
| 第 7 週 | Week 7 (3/31) Mid-term assignment presentation and report submission |
| 第 8 週 | Week 8 (4/7) Video I (錄像技術 I) Readings (required): ‧ Diana Weynand, Vance Piccin & Marcus Weise (2016), How Video Works: From broadcast to the cloud (read chapters “Creating a Video Image”, “Video Scanning”, “Synchronizing Signals”, “Color Video”, “Television Standard”) ‧ * “Preface” (2014), in Kathryn High, Mona Jimenez and Sherry Miller (Eds), The Emergence of Video Processing Tools: Television becoming unglued (pp. xiii - xxv) ‧ * “Beginnings (with Artists Manifestos)” (2014), in Kathryn High, Mona Jimenez and Sherry Miller (Eds), The Emergence of Video Processing Tools: Television becoming unglued (pp. 9-32) Readings (optional): ‧ “Audiovisual Media Collection ID Guide”, Preservation Self-Assessment Program, https://psap.library.illinois.edu/collection-id-guide#audiovisual (reading sections of “Audiotape”, “Videotape” and “Optical Media”) |
| 第 9 週 | Week 9 (4/14) Video II (錄像技術 II) Readings (required): ‧ * Kathryn High, Mona Jimenez and Sherry Miller (2014), The Emergence of Video Processing Tools: Television becoming unglued (read chapter “Mapping Video Arts as Category, or an Archaeology of the Conceptualization of Video” by Jeremy Culler) ‧ Lisa Conte, Christine Frohnert, Lisa Nelson, and Julia Sybalsky (2011), “Overcoming Obsolescence: The Examination, Documentation, and Preservation of Nam June Paik’s TV Cello”, The Electronic Media Review, Volume Two: 2011-2012 (https://resources.culturalheritage.org/emg-review/volume-two-2011-2012/conte/ ) Readings (optional): ‧ Video Preservation - The Basics, Experimental Video Center, https://www.videohistoryproject.org/video-preservation-basics ‧ 魏時煜 (2014) 光影筆記-拿起攝影機抗命!, https://ktoyhk.blogspot.com/2014/10/20141030_66.html?view=flipcard |
| 第 10 週 | Week 10 (4/21) Video movements and preservation in the local context (在地錄像運動與保存) Readings (required): ‧ * 邱貴芬 (2016) 「看見台灣」 台灣新紀錄片研究 (第一章:導論 pp.2-54) ‧ 王儀君 (2018), 在沒有先例的時候──初探港台錄像的保存與放映, 報導者 https://www.twreporter.org/a/tidf-2018-video-art-tw-hk ‧ 蔣宜婷 (2016), 綠色小組鏡頭下,差點被時間偷走的3,000小時, 報導者 https://www.twreporter.org/a/greenteam-3000hours Guest speaker (TBD) Wu Yong Yi 吳永毅 (Graduate Institute of Documentary & Film Archiving, TNNUA) |
| 第 11 週 | Week 11 (4/28) Special topic: early Asian American media projects and recording archives in New York (早期亞裔美國社群的媒體運動與錄像紀錄) Final project consultation期末報告題目講解與諮詢 Readings (required) ‧ Klavier Wang (2021), “Discovering, describing and digitising CCTV: Challenges and attempts of making New York Chinatown’s community television archive accessible”, Journal of Digital Media Management, 10(1), 1 90–102. Readings (optional): ‧ Mona Jimenez and Liss Platt (2004), Videotape Identification and Assessment Guide, https://www.arts.texas.gov/wp-content/uploads/2012/04/video.pdf |
| 第 12 週 | Week 12 (5/5) Special topic: MiniDisc – media format history and preservation (迷你牒的媒體格式歷史與保存) Final project consultation期末報告題目講解與諮詢 Readings (required) ‧ Annie Schweikert (2018), An Optical Media Preservation Strategy for New York University’s Fales Library & Special Collection, https://archive.nyu.edu/handle/2451/43877 ‧ Sony History, https://www.sony.com/en/SonyInfo/CorporateInfo/History/SonyHistory/ ‧ Minidisc.org, https://minidisc.org Readings (optional): ‧ Mike Casey and Bruce Gordon (2007), Sound Directions: Best practices for audio preservation, http://www.dlib.indiana.edu/projects/sounddirections/papersPresent/sd_bp_07.pdf |
| 第 13 週 | Week 13 (5/12) Time-based media art (時基媒體) Readings (required): ‧ * Pip Laurenson, “Authenticity, Change and Loss in the Conservation of Time-Based Media Installations”, Tate Papers, https://www.tate.org.uk/research/publications/tate-papers/06/authenticity-change-and-loss-conservation-of-time-based-media-installations ‧ Jill Sterrett and Pip Laurenson (2015), “For Art to Flourish and Leave its Trace”, VoCA, https://journal.voca.network/for-art-to-flourish-and-leave-its-trace/ Readings (optional): ‧ Ben Fino-Radin (2016), “Art In the Age of Obsolescence: Rescuing an Artwork from Crumbling Technologies”, MoMA, https://stories.moma.org/art-in-the-age-of-obsolescence-1272f1b9b92e |
| 第 14 週 | Week 14 (5/19) Digital media and preservation (數位媒體的技術發展與保存) Readings (required): ‧ Nicole Martin (2020), “What is a Digital File?”, https://twobitpreservation.com/blog/what-is-a-digital-file ‧ * Erin Baucom (2019), “A Brief History of Digital Preservation”, https://static1.squarespace.com/static/57c2e034ebbd1ac6f2565c18/t/5daf135446ed800117bab21d/1571754836501/A+Brief+History+of+Digital+Preservation.pdf Readings (optional): ‧ NDSA (2014), Checking Your Digital Content, https://www.digitalpreservation.gov/documents/NDSA-Fixity-Guidance-Report-final100214.pdf?loclr=blogsig ‧ NDSA (2019), “Levels of Digital Preservation”, https://ndsa.org/publications/levels-of-digital-preservation/ ‧ Digital Preservation Coalition (2021), Digital Preservation Handbook, https://www.dpconline.org/handbook/contents |
| 第 15 週 | Week 15 (5/26) Hands-on session: Experimental film production (實驗電影製作工作坊) Bamboo Hsu 許岑竹 |
| 第 16 週 | Week 16 (6/2) Final assignment presentation and final report submission |
| 第 17 週 | Week 17 (6/9) Flexible teaching schedule |
| 第 18 週 | Week 18 (6/16) Flexible teaching schedule |
教科書
本課程沒有指定的教科書。課程閱讀材料與影像資料來自各種讀物,包括學術期刊、文化機構刊物、網站資料。部分閱讀材料來自網絡,可供下載。部分在網絡未能獲得的資料將會由導師提供。請尊重知識產權,勿盜印?非法下載。