影像媒介文化
Visual Media and Cultures
| 節 | 週二 |
|---|---|
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
本課程為視覺文化研究所學生的必修課程。課程涵蓋不同類型的影像媒介和影像文化的不同層面,並提供思考影像媒介文化的歴史架構與理論根基。除了對於影像媒介本身的閱讀,本課程也重視影像是如何在宏觀的政治、社會與歷史脈絡中被生產、傳播、消費、詮釋再現和再利用。 課程目標是讓學生用批判性和多面向的思維去檢視影像是如何在不同類型的媒介中運作 - 從冷熱媒體對文化的影響,攝影電影錄像等動靜態影像媒介的技術發展與社會文化意義,當代影像媒介文化與社會議題等。課堂上,除了影像媒介文化的重要概念介紹和經典文章研讀外,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。學生在修畢本課後可以獲得未來研究所需的理論資源以及開始發展有潛力的研究主題。 This course aims to provide the necessary theoretical, historical and critical knowledge for understanding image media and culture. Included in this course are different types of visual mediums and their different aspects situated in the macro historical, socio-cultural and techno-cultural context. Students will critically explore how different visual media (e.g. photography, film, video) is produced, disseminated, consumed, interpreted, represented and (re)adapted. Aspects discussed include but not limited to: the influences of hot and cold media on culture, the social uses of different media, the impact of visual media technology on human and society, visual media and current social issues. Apart from reading canonic literature, this course will include case study, moving image viewing and discussion, and necessary field-trip.
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。大部分的閱讀材料能通過圖書館或其他學術資料庫獲得,或再由導師提供。 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. Most reading materials could be obtained through the university library system or other academic sources, while some will be provided by the instructor before the class.
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 | 課程介紹與導論 - Course introduction and reading assignments Required reading: Sturken, Marita and Cartwright Lisa. Practices of Looking: An Introduction to Visual Culture (3rd Edition). New York: Oxford University Press, 2017. (Read: “Chapter 1: Images, power and politics”, pp.13-49) Optional: Marita Sturken and Lisa Cartwright, 陳品秀、吳莉君譯,《觀看的實踐:給所有影像世代的視覺文化導論(全新彩色版)》,台北:臉譜出版社,2013 |
| 第 2 週 | 視覺文化概論 I - The power of pictures Required reading: Mirzoeff, Nicholas. An Introduction to Visual Culture. London: Routledge, 1999. (Read: Chapter “Introduction: What is visual culture”, pp.1-25; Chapter “Diana’s Death”, pp. 231-252) Optional: Nicholas Mirzoeff ,陳芸芸譯,《視覺文化導論》,台北:韋伯文化,2004。 |
| 第 3 週 | 中秋節假期 |
| 第 4 週 | 視覺文化概論 II - Seeing on the screen Required reading: Mirzoeff, Nicholas. How To See The World. New York: Basic Books Press, 2015. (Read: “Chapter 2: How we think about seeing”, pp.71-96; “Chapter 4: The world on screen”, pp.125-157) |
| 第 5 週 | 學術演講 - Dr. Feng-Mei Heberer (Cinema Studies, NYU) |
| 第 6 週 | 視覺文化導概論 III - How we see the world Required reading: Mirzoeff, Nicholas. How To See The World. New York: Basic Books Press, 2015. (Read: “Chapter 5: World Cities, City Worlds”, pp. 159-208) Optional: Mitchell, WJT. What do Pictures Want. Chicago: University of Chicago Press, 2005. |
| 第 7 週 | 視覺與現代性 - Visual culture and modernity Required readings: Pang, Laikwan. The Distorting Mirror: Visual Modernity in China. Hawai’i: University of Hawai’i Press, 2007. (Read: “Chapter Three Advertising and Visual Display of Women”, pp.102-132) Lai, Mingzhu. “Modernity, Power, and Gender: Images of Women by Taiwanese Female Artists under Japanese Rule.” in Refracted Modernity: Visual culture and identity in colonial Taiwan. Hawai’i: University of Hawai’i Press, 2007, pp.133-168. |
| 第 8 週 | 視覺與革命美學 - Visual culture and socialist aesthetics Required readings: 彭麗君,《複製的藝術: 文革期間的文化生產及實踐》,香港:香港中文大學出版社,2017 (閱讀章節:“第1章 毛式美學” 頁31-58;“第3章 典範與複製品的藝術與文化” 頁85-108) |
| 第 9 週 | 期中口頭報告 Mid-term presentation |
| 第 10 週 | (期中報告繳交) 媒介理論 - Medium theory Required readings: McLuhan, Marshall. Understanding Media: The Extensions of Man. Massachusetts: The MIT Press, 1964, 1994. (Read: “Introduction”, pp.3-6; “1. The medium is the message”, pp.7-23; “2. Media hot and cold”, pp.22-32) |
| 第 11 週 | 媒介與物質性 - Medium and materiality Required readings: Wasson, Haidee. “The Other Small Screen: Moving Images at New York’s World Fair, 1939.” in The Screen Media Reader. New York: Bloomsbury, 2017, pp.367-388. Roy, Elodie. Shellac in Visual and Sonic Culture. Amsterdam: Amsterdam University Press, 2023. (Read: “Introduction: From material culture to the materials of culture”, pp. 11-38) Optional: Weber, Anne-Katrin. Television Before TV, Amsterdam: Amsterdam University Press, 2023. (Read: “Introduction: Interwar Television on Display”, pp.23-48) |
| 第 12 週 | 攝影之眼 - Photographic seeing Required readings: Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” in Illuminations: Essays and Reflections. Ed. Hannah Arendt. Trans. Harry Zohn. New York: Schocken Books, 1969. (https://web.mit.edu/allanmc/www/benjamin.pdf ) Mirzoeff, Nicholas. An Introduction to Visual Culture. London: Routledge, 1999. (Read: first 3 parts of “Chapter 2: The Age of Photography (1839-1982)”, pp. 65-76) Optional: Good, Jennifer. Photography and September 11th: Spectacle, Memory, Trauma. London: Routledge, 2015. (Chapter 4: Forever seared: The trauma of photographic seeing) 郭力昕,《製造意義:現實主義攝影的華語、權力與文化政治》,台北:影言社出版,2018。 |
| 第 13 週 | 閱讀流動影像 - Reading moving images Required readings: Stam, Robert. Film Theory: An Introduction. New Jersey: Blackwell, 2000. (Read: “The Essence of Cinema”, pp.33-36; “Soviet Montage-Theorists”, pp.37-46; “Interrogating Authorship and Genre”, pp.123-129; “From Linguistics to Psychoanalysis”, pp.158-168). 葉月瑜、戴樂為,曾芷筠、陳雅馨譯,《台灣電影百年漂流:楊德昌、侯孝賢、李安、蔡明亮》,台北:書林出版社,2016。(閱讀章節:“第五章 儒化好萊塢:李安的電影”, 頁211-257) Optional: Robert Stam, 陳儒修、郭幼龍譯,《電影理論解讀》,台北:遠流,2012。 Yeh, Yeh-yu. “Poetics and politics of Hou Hsiao-hsien’s films.” Post Script Vol. 20 No.2-3 (2001): 61-76. |
| 第 14 週 | 流動影像技術文化 - Moving image techno-culture Required readings: Yeh, Yueh-yu ed. Early Film Culture in Hong Kong, Taiwan, and Republican China - Kaleidoscopic Histories. Michigan: University of Michigan Press, 2018. (Read: “Chapter 2. Magic Lantern Shows and Screen Modernity in Colonial Taiwan”, pp.51-70; “Chapter 4. Enlightenment, Propaganda, and Image Creation”, pp. 101-133) |
| 第 15 週 | 展演電影與錄像藝術 - Exhibiting cinema and video art Required readings: Wasson, Haidee. Museum Movies: The Museum of Modern Art and the Birth of Art Cinema. California: University of California Press, 2005. (Read: “Making Cinema A Modern Art”, pp.1-31) Balsom, Erika. Exhibiting Cinema in Contemporary Art. Amsterdam: Amsterdam University Press, 2013. (Read: “Introduction: The Othered Cinema”, pp.9-26) Meigh-Andrews, Chris. A History of Video Art (2nd Edition). New York: Bloomsbury, 2014. (Read: “In the Beginning”, pp.6-19; “Technology, Access and Context”, pp.77-88) |
| 第 16 週 | 期末口頭報告 Final presentation |
見每週安排 (see weekly schedule for reading requirement)
- 地點
- By appointment
- 時間
- By appointment
- 聯絡方式
- klavierwang@nycu.edu.tw