影像媒介文化

Visual Media and Cultures

學期

112-2

學分

3 學分

當期課號

133300

永久課號

SHVC30009

開課單位

視覺文化研究所

授課教師

勞維俊

校區

陽明

類別

必修

上課時間表

節	週四
5 13:20–14:10	影像媒介文化 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

課程提供思考影像媒介文化的歴史架構與理論根基,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丶電影丶錄像的發明丶普及丶與更新,以至於新媒體如網路遊戲丶社交平台丶虛擬現實 (VR) 等的觀看丶接受丶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) 的文化歴史丶問題丶與分析方法。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.

先修科目

None

教學方式

本課程閱讀資料以英文學術著作為主,部分輔以中文譯本。同學須於上課前把指定文本和理論讀畢,上課時細讀老師片段選評和分析,並參與討論和報告。 Students are required to read all the assigned texts, including literary, filmic and theoretical works. They should attend lectures, participate in discussions in tutorials, give a presentation, and write two essays.

評分方式

1. 平時出席及課堂表現:40% (導讀,課堂參與,課上提問。) 2. 期中口頭及書面報告:20%(書面報告中文3000字以上丶或英文1500字以上,為期末報告雛形,不含註釋及參考書目;期中口頭報告10分鐘。) 3. 期末口頭及書面報告:40%(書面報告10,000字以上丶或英文5,000字以上,不含註釋及參考書目;期末口頭報告15分鐘。) 1. Attendence and tutorial: 40% (Guided reading and discussion.) 2. Mid-term Presentation and Essay: 20% (Word length: No less than 3000 words in Chinese or 1500 words in English, bibliography not included; Presentation: 10 minutes max.) 3. Final Presenatation and Essay: 40% (Word length: No less than 10,000 words in Chinese or 5,000 words in English, bibliography not included; Presentation: 15 minutes max.)

週次計畫

週次	主題
第 1 週	說明上課方式與評分標準 (Introduction: course outline, teaching format and assessment) 閱讀範圍 (Required reading): 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.] 參考閲讀 (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.
第 2 週	影像是甚麼 (What Is an Image?) 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.
第 3 週	媒介與文化 (Medium and Culture) 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.] Ackbar Abbas, ‘On Fascination: Walter Benjamin’s Images,’ New German Critique, 48 (Autumn 1989): pp 43-62.
第 4 週	攝影: 歷史, 社會功用及其批判 (Photography: History and Social Criticism) 閱讀範圍 (Further readings): 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.] 參考閲讀 (Recommended 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.] 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.] Faces Places (最酷的旅伴Visage villages, 2017), dir. JR and Agnès Varda. 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.] 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.]
第 5 週	攝影與電影: 影像之溢出 (Photography and Cinema: Excess in Images) 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). 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. 參考閲讀 (Recommended readings): Roland Barthes, Camera Lucida: Reflections 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.] 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. 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.]
第 6 週	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.]
第 7 週	學校假期 Holiday (4/4)
第 8 週	影像與電影 (Image and Cinema) 閱讀範圍 (Required readings): Greg Lambert, ‘Cinema and the Outside,’ The Brain Is the Screen: Deleuze and the Philosophy of Cinema, edited by Gregory Flaxman, University of Minnesota Press, 2000, pp. 253-292.
第 9 週	電影的跨媒介性 (Cinema’s Cross-Mediality) 閱讀範圍 (Required readings): Giorgio Biancorosso, ‘The Radio Broadcast as Anamorphic Spot,’ in Situated Listening: The Sound of Absorption in Classical Cinema, Oxford UP, 2016 pp. 73-98 參考閲讀 (Recommended readings) : Frederic Jameson, ‘Remapping Taipei,’ The Geopolitical Aesthetic: Cinema and Space in the World System, Bloomington: Indiana University Press, 1992, pp. 114-157. Terrorizers 恐怖分子 (1986), dir. Edward Yang 楊德昌 The Rules of the Game (La Règle 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
第 10 週	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. 參考閲讀 (Recommended reading): D.A. Miller, ‘Hitchcock’s Understyle: A Too-Close View of Rope,’ Representations, vol. 121, no. 1, Winter 2013, pp. 1-30. Rope (1948), dir. Alfred Hitchcock.
第 11 週	類型電影的自我指涉 (Genre’s Self-Reflexivity) 閱讀範圍 (Required readings): 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. 參考閲讀 (Recommended reading): 2001: A Space Odyssey (1968), dir. Stanley Kubrick, 142 min.
第 12 週	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): Song Hwee Lim, ‘Temporal Aesthetics of Drifting: Tsai Ming-liang and a Cinema of Slowness,’ Slow Cinema, edited by Tiago de Luca and Nuno Barradas Jorge, Edinburgh University Press, pp. 87-98. [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.] 參考閲讀 (Recommended readings): 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; pp. 186-241. 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. What Time is It There (你那邊幾點?) (2013), dir. Tsai Ming-Liang (蔡明亮). Lutz Koepnick, The Long Take: Art Cinema and the Wondrous. U of Minnesota P, 2017.
第 13 週	錄像丶科技與文化 (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.
第 14 週	新媒體 (The New Media) 閱讀範圍 (Required readings): Lea Manovich, ‘What is New Media?’, The Language of New Media, MIT Pres, 2022, pp.43-65. Nichola Green, ‘On the Move: Technology, Mobility, and the Mediation of Social Time and Space,’ The New Media Theory Reader, edited by Robert Hassan and Julian Thomas, Open University Press, 2006, pp. 249-265. 參考閲讀 (Recommended readings): Bill Viola, The Quintet of the Astonished (驚駭五人組), 2000. One of the following 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 Elizabeth Manchester, ‘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. (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)
第 15 週	新舊媒體的虛擬性 (Virtuality and the Poor Image) 閱讀範圍 (Required readings): 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/ 參考閲讀 (Recommended readings): 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. Still Life (三峽好人) (2014), dir. Jia Zhang-he (賈樟柯), 112 min.
第 16 週	Final Presentation 口頭報告

教科書

Please see the course outline for details.

Office Hours

地點: Room 404, Zhi Xing Building, Yang Ming Campus
時間: Confirmed by email appointment
聯絡方式: Email: louiswclo@nycu.edu.tw