戰爭與媒介:歷史、技 術、文化
War and Media: History, Technique, Culture
| 節 | 週五 |
|---|---|
5 13:20–14:10 | 戰爭與媒介:歷史、技 術、文化 HC101 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
媒介技術與戰爭行為是現代性感官經驗的一體兩面。從電影、攝影、電報、廣播、繪畫、文學,以至於網路遊戲,媒介不僅再現了戰爭,更扮演實際動員與宣傳戰爭的基礎設施。本課程從台灣、東亞、到世界等不同歷史時空,探討「戰爭-媒介」此一文化技術綜合體對敘事模式與美學形式的若干影響及擾動,並試圖探問在戰爭動員之外,媒介使用者或創作者的自由可能。 本課程以文獻閱讀討論為主,搭配參訪活動(台北市立美術館、海軍六燃場、黑蝙蝠中隊文物館等)、導演放映座談及作者演講。歡迎對電影/媒介研究、戰爭軍事史、批判理論有興趣之同學選修。 Media technologies have been symbiotic with the development of modern warfare. Cinema, photography, radio, telegraph, prints, and even video games not only represent the reality of warfare but also serve as the infrastructures that communicate, orient, and mobilize audiences and soldiers on and off the battleground. The war-media complex, one may say, is the defining condition of our sensorial experiences with modernity. This graduate seminar explores the technical-cultural ensemble between war and media by tracing its historical development, technological innovation, and various forms of genres and aesthetics. From the air reconnaissance balloon in 18th century France to the Cold War antiaircraft cybernetics developed in MIT, from the radio stenography of Nazi Germany to the use of loudspeakers across the Taiwan Strait, we will trace some of the key historical moments when media technologies were directly influenced by warring conditions. We will also familiarize ourselves with a variety of audial, visual, and narrative genres rooted in military campaign and political propaganda, as we inquire into the aesthetic transformation of media between propaganda instrumentality and artistic creativity. How, for example, did Hollywood filmmakers respond to the U.S.’s involvement in The Asia-Pacific Theater during WWII, and how did their wartime engagement inform their view on postwar entertainment? How did Hong Kong’s radio novel, broadcasted via UK’s radio infrastructure, create a series of new trans-medial urban genres during the long Cold War era? How did game-play simulation and its first-person-narrative mode inform the “surgical operation” in contemporary military training? The media aesthetics of warfare, therefore, demand us to delve into the intertwined questions regarding warfare mentality, technological determination, and the role of aesthetic sensibilities. This is a reading-intense course coupled with screenings and archival activities. It is open to graduate-level students with interests in film/media studies, war and military history, and contemporary cultural theories.
English Reading Proficiency *本課程主要閱讀材料為英文,部分為中文。亦使用中文譯本。 非英語母語同學可用中文討論(教師將協助口譯) * 本課程開放旁聽
a. Attendance & active In-class Participation/Presentation: 30% (Please drop the class if you have more than 3 absences) b. Weekly reading notes: 40 % [1 page/ 400-500 words in English; 800-900 words in Chinese; summery or commentary with 2 questions] d. A research paper/project: 30%
| 週次 | 主題 |
|---|---|
| 第 1 週 | Course Introduction: WHY WAR? |
| 第 2 週 | War, Media, Modernity 戰爭與媒介現代性 reading Carl von Clausewitz, On War (selections) Judith Butler, Frames of War (Intro & Ch.2) John Guillory, “Genesis of the Media Concept” Marshall McLuhan, “Medium is the Message” “The Printed Word” “Weapons” in Understanding Media Friedrich A. Kittler, “The History of Communication Media” *Suggested Readings *Michel Foucault, Society Must be Defended, Lecture 1 & 7 *Martin Heidegger, “The Age of the World Picture” *Benedict Anderson, Imagined Communities, “Intro”, Ch. 2, Ch. 3 * 戰爭與社會:理論、歷史、主體經驗 (Edited Volume in Chinese) |
| 第 3 週 | Class Meeting Canceled. |
| 第 4 週 | The Senses of Propaganda 宣傳的器官與感官 reading Jacques Ellul, Propaganda: The Formation of Men’s Attitudes(Intro+Preface+Chapter I)) Barak Kushner, “Propaganda for Everyone”, The Thought War: Japanese Imperial Propaganda, pp1-19 Gill Bennett, "Propaganda and Disinformation: How a Historical Perspective Aids Critical Response Development" in Sage Handbook of Propaganda, pp245-160 viewing The Art of Influence: Asian Propaganda To the South, Taiwan (1939-40) 南進台灣 The White-haired Girl (1951) 白毛女 |
| 第 5 週 | Pictorial Wars: Photography, Painting, Comics 圖像戰:攝影, 繪畫, 漫畫 PART I. reading: Susan Sontag, “On Photography” Walter Benjamin, “A Small History of Photography” Roland Barthes, selections from Camera Lucida Mary W. Marien, “War and Photography”, in Photography: A Cultural History Karen Beckman, “Nothing to Say: The War on Terror and the Mad Photography of Roland Barthes” Georges Didi-Huberman, Images in Spite of All: Four Photographs from Auschwitz Viewing: The Family of Man (Cold War/USIA) Henri-Cartier Bresson (Chinese Civil War) Larry Burrows (Vietnam War) Alexander Gardner/ Sally Mann (US Civil War) John Thompson (China, Taiwan, Hong Kong) ------------------------- PPART II reading Boris Groys, “Art at War”, “Hitler’s Art Theory”, “Socialist Realist Art” in Art Power Ikeda, Asato and others. Art and War in Japan and Its Empire, 1931-1960 (Selections) Gu Yi, “We Love Peace: Photographic Effect and Chinese People’s Volunteer Force Soldiers in the Korean War.” Barbara Mittler, Barbara Mittler, “Popular Propaganda? Art and Culture in Revolutionary China” “Chain(ed) Pictures and Chained by Pictures: Comics and Cultural Revolutions in China”, A Continuous Revolution *Johanna Drucker, “Art” in Critical Terms for Media Studies viewing Posters from Nazi Germany, Communist China, and the U.S. |
| 第 6 週 | War Games: Video Games, Simulation, and Network 重返當下:遊戲、模擬敘事及網絡社會 (PART I) reading Hayot, Eric. / History and its alternatives : War games as social form. Divided Lenses: Screen Memories of War in East Asia. University of Hawaii, 2016. pp. 252-280 Aubrey Anable, “Intro: Video Games as Structures of Feeling”, Playing with Feelings: Video Games and Affect Patrick Crogan, “Technology, War, and Simulation” & “From the Military-Industrial to the Military-Entertainment Complex”, Gameplay Mode |
| 第 7 週 | War Games: Video Games, Simulation, and Network 重返當下:遊戲、模擬敘事及網絡社會 (PART II) S. Deterding, “Living Room Wars: Remediation, Boardgames, and the Early History of Video Wargaming”, Joystick Soldiers: The Politics of Play in Military Video Games Tannie Allison, “Simulating War on an Algorithmic Playground”, Destructive Sublime: World War II in American Film and Media |
| 第 8 週 | Guest Speaker: Prof. Garrett Stewart (University of Iowa) Topic (tentative): Transmedium: Art Objects and War Pictures |
| 第 9 週 | Cinema’s Military Industrial Complex 電影的軍工複合體 reading Paul Virilio, War and Cinema: The Logistics of Perception (Ch. 1, 2, 7) Wasson & Grieveson, Cinema’s Military Industrial Complex (Ch. 1, 4, 10, 13) Kristin Thompson and David Bordwell, “National Cinemas, Hollywood Classicism, and World War I, 1913–1919”, Hollywood and War *Alice Lovejoy, Army Film and the Avant Garde: Cinema and Experiment in the Czechoslovak Military viewing Frank Capra, Why We Fight (Selections) @Film Screening: Lost Black Cats: 35th Squadron 電影放映:疾風魅影-黑貓中隊 |
| 第 10 週 | Hollywood’s Atomic Bomb Complex 好萊塢與原子彈 *Atomic Bomb Cinema: The Apocalypse on Film (Ch. 1, 2, 4, 8) viewing a. Civil defense training shorts from US and Taiwan b. The War of the Worlds (1953), OR Frankenstein Conquers the World (1965) フランケンシュタイン対地底怪獣 |
| 第 11 週 | Sonic Warfare: 聲波戰 reading Walter Benajmin “Reflections on Radio” Rudolf Arnheim, Selections from Radio Steven Goodman, Sonic Warfare: Sound, Affect, and the Ecology of Fear (pp. 1-55) Andrew Jones, “Teresa Teng and the Network Trace”, in Circuit Listening: Chinese Popular Music in the Global 1960s Kerim Yasar, Electrified Voices: How the Telephone, Phonograph, and Radio Shaped Modern Japan *The Soundtrack of Conflict: The Role of Music in Radio Broadcasting in Wartime and in Conflict Situations *Damielle Simon, “From Radio to Radio-visione: Italian Radio’s Television Experiments, 1939–1940” *川島真, 「戰爭與廣播」 listening PRC: “The East is Red” 東方紅 ROC: Songs from Teresa Teng 鄧麗君 |
| 第 12 週 | TV Fever: From Vietnam War to Gulf War 電視熱:從越南到波灣 Raymond Williams, Television: Technology and Cultural Form (Ch.1) Marshall McLuhan, “Media Hot and Cold”, Understanding Media Lisa Parks, “Introduction”, Cultures in Orbit: Satellites and the Televisual Michael Mandelbaum, “Vietnam: The Television War” *Blogpost: “Vietnam: The First Television War” https://prologue.blogs.archives.gov/2018/01/25/vietnam-the-first-television-war/ *Jean Baudrillard, “The Gulf War is Taking Place” |
| 第 13 週 | Chip Wars 晶片戰 Chris Miller, Chip War: The Fight for the World's Most Critical Technology (Selections) |
| 第 14 週 | 12/31 Urban Warfare: the Architecture/ Infrastructure of Wartime Governance 城鎮戰: 建築、基礎設施、與戰爭治理 Stephen Graham, Cities Under Siege: The New Military Urbanism, “Introduction” Brian Larkin. “The Politics and Poetics of Infrastructure” Eyal Weizman. Hollow Land: Israel’s Architecture of Occupation, “Introduction” Greg Castillo, “Domesticity as Weapon,” Cold War on the Home Front: The Soft Power of Midcentury Design *Keller Easterling, Extrastatecraft: The Power of Infrastructure Space, “Introduction” *Andrew Shanken, 194X: Architecture, Planning, and Consumer Culture on the American Home Front |
| 第 15 週 | Aerial View: Balloon, Drone, and Vertical Battelefield 航空影像與地景戰爭 reading Caren Kaplan, “Balloon Geography: The Emotion of Motion in Aerostatic Wartime”, Aerial Aftermath: Wartime from Above Lisa Parks, “Vertical Mediation”, Life in the Age of Drone Warfare Ronak K. Kapadia, "Up in the Air", Insurgent Aesthetics: Security and the Queer Life of the Forever War |
| 第 16 週 | End-of Semester Party+Forum |
| 第 17 週 | |
| 第 18 週 |
- 地點
- Classroom: Humanities Building III, HC101/上課地點:人社三館HC101 Instructor's Office: Humanities Building II, HB308/ 教師辦公室:人社二館HB308
- 時間
- Seminar Meeting Time: 14:00 - 17:10 (Friday) Office Hour: By appointment.
- 聯絡方式
- knulpyang@nycu.edu.tw