錄像技術、文化與藝術
Video technology, culture and art
| 節 | 週二 |
|---|---|
5 13:20–14:10 | 錄像技術、文化與藝術 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
本課程為視覺文化研究所學生的選修課程。錄像技術 – 從類比(analog)到數位(digital)形式 – 與社會媒介文化的發展密不可分。課程涵蓋不同時期的錄像技術發展、錄像媒體文化、錄像藝術創作、以及關於錄像的理論討論等。除了對於錄像作品本身的閱讀,本課程側重於研究錄像技術和錄像媒體的使用是如何在宏觀的政治、經濟、社會與歷史脈絡中被生產、傳播、消費、詮釋和再現。錄像(video)可以是以特定技術為基礎而發展的影像媒介(例如 VHS),也可以指代任何以螢幕為介面的動態影像。在本課程中,「錄像」將會集中在第一種概念範圍的討論。 錄像技術發源於 1960 年代,是一個比電影技術更靈活便利的動態影像製作工具,更被譽為是一種「民主化的」、「去中心化的」影像生產媒介。本課程主要目標是讓學生用多面向的思維去檢視錄像如何在不同歷史時期和社會文化範疇中(例如家庭環境、社會抗爭、藝術創作)與使用者/觀賞者產生有機的聯結。 錄像媒介和當代重要社會事件和社會議題的互動也是本課堂的討論範圍。 課堂上,除了重要概念介紹和經典文章研讀外,課堂討論還包含國內外的個案研究分析,觀影討論,以及必要的課外教學內容。 The course is an elective course for students at the Institute of Visual Studies. The course focuses on video technology – in analog and digital forms – and its socio-cultural interaction with the human society. This course covers the development of video technology, discussions on video media creation and video culture, video art and theoretical development in relation to video culture. Besides studying video works (event documentation or artistic creation), this course will lead students to contemplate video from a broader perspective – how video technology and video media is consumed, interpreted, and represented under different political and socio-cultural contexts. Video could be understood as a specific type of media or a general term that refers to all kinds of on-screen moving images. In this course, we will center on the first category. Since its emergence in the 1960s, video technology has been regarded as a more flexible, accessible and democratizing moving image creation technology than film. In this course, students will assess and investigate video from a multi- faceted perspective – how does video play certain roles in settings such as family’s private domain, collective actions and artistic creation. Apart from reading canonic literature, this course will include case study, moving image viewing and discussion, and necessary field-trip.
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• 本課程閱讀資料以英文學術著作為主。同學須於上課前把指定文本(required reading)讀畢。在課堂上,同學須細讀導師選定的片段選評,並積極參與討論和報告。 • 同學不需要額外購買教科書/閱讀材料。部分閱讀材料能通過圖書館資源(實體館藏或線上資料庫)獲得,其餘讀本由導師提供(google drive)。 • 在開學確定修課人數後,每週閱讀內容有可能會相應調整。 • 尊重知識,功課禁止抄襲。引用他人研究/網路資源等應註明出處。本課程的作業也不反對同學使用生成式 AI 工具,但使用前必須先取得本課程教師的同意,並且在功課寫作過程中詳細說明使用之過程。 • 抄襲、未經同意或未經說明使用生成式AI工具,一經發現,即帶來功課不及格之後果。」 • Most of the required reading materials of this course are in English. Students are required to finish all the required reading before every class. In the class, student discussants will lead the discussion and active participation from other students are expected. There is no need to purchase textbook. Some reading materials could be obtained through the university library system, while some will be provided by the instructor before the class. • Weekly reading requirements are subject to minor change according to the number of registered students and the instructor's arrangement. • Plagiarism is prohibited. • This course does not prohibit the use of generative AI. But students who intend to consult generative AI must seek the instructor's approval in advance. If students consult generative AI tools in the course of completing their homework, they must explain in detail how the generative AI tool is being used and how the generated content is understood. • Plagiarism and use of generative AI without the instructor's consent will cause FAIL grade in this course.
• 課堂出席及課堂參與:40%(包含課堂導讀和參與討論) • 期中口頭及書面報告:20% - 書面報告中文 3,000 字以上(或英文 1,500 字以上),此字數要求均未含註釋和參考書目。此期中報告為期末報告的雛形,需有明確的問題意識/研究主題,研究方法,對於整體 報告的構想,以及至少十個參考文獻。期中口頭報告 10-15 分鐘。 • 期末口頭及書面報告:40% - 書面報告 10,000 字以上(或英文 5,000 字以上),此字數要求均未含註釋及參考書目。期末口頭報告 15 -20 分鐘。 • In-class performance: 40% • Mid-term report and presentation: 20% • Final paper and presentation: 40%
| 週次 | 主題 |
|---|---|
| 第 1 週 | 課程介紹與課程導論 • 林哲志,《什麼是錄像藝術?》,北藝新媒, https://nma.tnua.edu.tw/news/report/N9jPLQqetu • 王聖閎,《行為表演、裝置與錄像的模糊交會:從臺灣錄像 藝術史書寫中的類型化問題談起》,伊通公園, http://www.itpark.com.tw/artist/critical_data/52/2172/37 |
| 第 2 週 | 錄像技術I - 發展簡史 • Newman, Michael Z. Video Revolutions: On the History of a Medium. Columbia University Press, 2014. (read chapter “video as alternative” pp.22-31) • University of Michigan. “The Rapid Evolution of Video Technology.” http://websites.umich.edu/~evideo/index1.html 課堂活動:格式的演變 |
| 第 3 週 | 錄像技術 II – 類比錄像技術 • Weynand, Diana, Piccin, Vance, and Weise, Marcus. How Video Works: From Broadcast to the Cloud. Routledge, 2016. (read pp.1-15; pp.135-152) 課堂活動:錄像帶結構/解構 |
| 第 4 週 | 錄像技術 III – 數位錄像技術 • Martin, Nicole. “What is a Digital File?.” https://twobitpreservation.com/blog/what-is-a-digital-file • Weynand, Diana, Piccin, Vance, and Weise, Marcus. How Video Works: From Broadcast to the Cloud. Routledge, 2016. (read pp.113-134) Optional: • Lorrain, Emanuel. “A short guide to choosing a digital format for video archiving masters.” UCSF library, 2014. (可直接google 下載pdf) 課堂活動:認識數位檔案結構 |
| 第 5 週 | 國慶日 - 假期 |
| 第 6 週 | 錄像理論 I • Daniels, Dieter and Thoben, Jan. Thoben. Video Theories: A Transdisciplinary Reader. Bloomsbury, 2022. (read Chapter “Formations | Exemplary Discourses” pp.3-20) • Cubitt, Sean. Videography: Video Media as Art and Culture. Red Globe Press London, 1993. (read chapter “Videography: The helical scan” pp.3-19) |
| 第 7 週 | 錄像理論 II • Daniels, Dieter and Thoben, Jan. Thoben. Video Theories: A Transdisciplinary Reader. Bloomsbury, 2022. (read preface pp.xvi – xxxvi) • Daniels, Dieter and Thoben, Jan. Thoben. Video Theories: A Transdisciplinary Reader. Bloomsbury, 2022. [Read chapters “Biennale Seminar on Video, Venice 1977” by McLuhan pp.25-28; “Videotape: Thinking about a Medium (1968)” by Ryan pp.28-32; “Videor (1990)” by Derrida pp.521-525)] • Daniels, Dieter and Thoben, Jan. Thoben. Video Theories: A Transdisciplinary Reader. Bloomsbury, 2022. [read chapters “Artistic practice and video theory” pp.495- 501; “Video 1965: Andy Warhol and Nam June Paik: A specific moment of unspecificity (2018/2021)” pp.502-509] Optional: Plate, Brent. "Between Cinema and a Hard Place: Gary Hill's Video Art Between Words and Images", Criticism, 45, 1, pp.109-127. 2003 |
| 第 8 週 | 錄像理論 III • MoMA. Signals: How Video Transformed the World. 2023. (read chapters "Signals: How video transformed the world" pp.11-22; "Television at the end of history" pp.23-30.) MoMA: Signals: How Video Transformed the World (2023) (chapter "Never Rest/Unrest", pp.101-109) |
| 第 9 週 | 期中報告 |
| 第 10 週 | 錄像作為影像媒體 I – 大眾文化領域 • Willett, Rebekah. “In the Frame: Mapping Camcorder Cultures.” Video Cultures: Media Technology and Everyday Creativity, edited by David Buckingham and Rebekah Willett, Palgrave, 2009, pp.1-22. • Buckingham, David, Pini, Maria, Willett, Rebekah, "‘Take back the tube!’: The Discursive Construction of Amateur Film- and Video-Making", Video Cultures: Media Technology and Everyday Creativity, edited by David Buckingham and Rebekah Willett, Palgrave, 2009, pp.51-70 • Fish, Adam. Technoliberalism and the End of Participatory Culture in the United States. Palgrave, 2017. (read chapter: “Histories of video power” pp.21-56) Optional: • Willett, Rebekah. “Always on: Camera Phones, Video Production and Identity.” Video Cultures: Media Technology and Everyday Creativity, edited by David Buckingham and Rebekah Willett, Palgrave, 2009, pp.210-229. |
| 第 11 週 | 錄像作為影像媒體 II – 游擊錄像運動 • Boyle, Deirdre. “From Portapak to Camcorder: A Brief History of Guerrilla Television.” Journal of Film and Video, vol. 44, no. 1/2, Spring and Summer 1992, pp. 67-79. • Boyle, Deirdre. “Subject to Change: Guerrilla Television Revisited.” Art Journal, vol. 45, no. 3, Autumn, 1985, pp. 228- 232. • Boddy, William. “Alternative Television in the United States.” Screen, vol. 31, no.1, 1990, pp. 91-101. |
| 第 12 週 | 錄像作為藝術 I • High, Kathy, Hocking, Sherry and Jimenez, Mona. The Emergence of Video Processing Tools: Television Becoming Unglued (volume 1). Intellect, 2014. (read chapter “Beginnings (with artists manifestos” pp. 9-32). • Culler, Jeremy. “Mapping Video Art as Category, or an Archaeology of the Conceptualizations of Video.” The Emergence of Video Processing Tools: Television becoming unglued (volume 1), edited by Kathy High, Sherry Miller Hocking and Mona Jimenez. Intellect, 2014, pp, 35-52. |
| 第 13 週 | 錄像作為藝術 II • Meigh-Andrews, Chris. A History of Video Art, 2nd Edition. Bloomsbury, 2014. ("2. Crossing Boundaries" pp. 20-77 - skim reading, focus on Germany, Japan, China, UK) Optional: • EAI. “TV as a Creative Medium.” https://www.eai.org/webpages/1004 |
| 第 14 週 | 錄像作為藝術 III • 孫松榮(2017) “延遲影形力: 1980 年代華語語系單頻道錄 像藝術的政治批判芻議,” 現代美術學報(2017/11):65-90 • 陳永賢(著)錄像藝術啟示錄,藝術家出版社,2010 [閱讀章節:第 一 章、錄像藝術的發展風格; 第 二 章、錄像藝術的科技先驅—白南準(Nam June Paik); 第 三 章、時序遞嬗的一道靈光—比爾.維歐拉(Bill Viola) ] • Conte, Lisa, Frohnert, Christine, Nelson, Lisa, and Sybalsky, Julia, “Overcoming Obsolescence: The Examination, Documentation, and Preservation of Nam June Paik’s TV Cello.” The Electronic Media Review, Vol. 2, 2011-2012, https://resources.culturalheritage.org/emg-review/volume-two- 2011-2012/conte/ |
| 第 15 週 | 台港錄像藝術 • 孫松榮(2017) “延遲影形力: 1980 年代華語語系單頻道錄 像藝術的政治批判芻議,” 現代美術學報(2017/11):65-90 • “【論壇現場】檔案之眼:紀實影像的類型邊界,” 報導者 (2018), https://www.twreporter.org/a/tidf-2018-forum-notes 客座嘉賓 (TBD) |
| 第 16 週 | 期末報告。 |
詳見每週安排
- 地點
- By appointment
- 時間
- By appointment
- 聯絡方式
- klavierwang@nycu.edu.tw