楊德昌電影研究:影像與哲學
The Cinema of Edward Yang: Image and Philosophy
學期
113-1
學分
3
學分
當期課號
133304
永久課號
SHVC30039
開課單位
視覺文化研究所
授課教師
勞維俊
校區
陽明
類別
選修
上課時間表
| 節 | 週四 |
|---|---|
5 13:20–14:10 | 楊德昌電影研究:影像與哲學 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
The core subject of this course is Edward Yang’s cinema, in particular its themes, cinematic styles, and philosophy. Issues explored include the Taiwan New Waves, geopolitics, globalization, identity, sex and gender differences, mediation, and such notions as death, life, and art. Taiwan’s socio-political and cultural contexts, Edward Yang’s intellectual background, his contemorary film makers, and influences on his films will be considered. The course offers methods of both close-reading of the cinematic texts and a survey of critical theory so that they illuminate each other. As students acquire basic techniques to approach Edward Yang’s filmic texts as well as understand relevant contemporary philosophical thoughts, they will be able to apply the same methodology to other visual materials.
先修科目
N/A
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. Attendance 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 Presentation 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 | Introduction I: Edward Yang and the New Waves “Expectation” 指望 (1982, dir. Edward Yang楊德昌), in In Our Time 光陰的故事 (dir. I-chen Ko 柯一正, Te-chen Tao陶德辰, Edward Yang楊德昌, Chang Yi張毅). References: Jian-yeh Huang 黃建業, Edward Yang: Taiwan New Cinema’s Speculative Intellectual楊德昌電影硏究 : 臺灣新電影的知性思辯家。Taipei 臺北: Yuen Liu Publishing 遠流出版事業股份有限公司, 1995. Jean-Michel Frodon尚-米榭爾・弗東, Le cinema d’Edward Yang: de ‘In our Time’ á ‘Yi Yi’ 楊德昌的電影世界:從〈光陰的故事〉到〈一一〉, Paris臺北: Editions de l'Eclat 時周文化, 2012. John Anderson, Edward Yang, Chicago: University of Illinois Press, 2005. “Duckweed” 浮萍in Eleven Women十一個女人 (1981, dir. Edward Yang) |
| 第 2 週 | Introduction II: Context and Influences Hiroshima mon amour (1959, dir. Alain Resnais). Pickpocket (1959, dir. Robert Bresson). Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, dir. Stanley Kubrick). References: Aguirre, the Wrath of God (Aguirre, der Zorn Gottes, 1972, dir. Werner Herzog). The Adventure (L'Avventura, 1960, dir. Michelangelo Antonioni). When a Woman Ascends the Stairs (女が階段を上る時, 1960, dir. Mikio Naruse 成瀬巳喜男). Robert Bresson, Notes on the Cinematographer (Notes sur le cinématographe, 1975), translated by Jonathan Griffin, Los Angeles: Green Integer, 1997. Paul Schrader, “Bresson,” Transcendental Style in Film: Ozu, Bresson, Dreyer, Da Capo Press, 1972, 57-108. |
| 第 3 週 | Edward Yang’s “Ecriture feminine” That Day, on the Beach 海灘的一天 (1983, dir. Edward Yang) Sigmund Freud, “The Uncanny,” The Standard Edition of the Complete Psychological Works of Sigmund Freud, vol. 17, translated by James Strachey, London: The Hogarth Press, 1994, pp. 219-253. References: Dani Cavallaro, French Feminist Theory: An Introduction, London: Continuum, 2004. Matthew Ratcliffe, “The Phenomenology of Touch,” Feelings of Being: Phenomenology, Psychiatry and the Sense of Reality, Oxford University Press, 2008, Chapter 3. |
| 第 4 週 | Architecture and the City I Taipei Story青梅竹馬 (1985, dir. Edward Yang) Georg Simmel, “The Metropolis and Mental Life,” On Individuality and Social Forms, edited by Donald N. Levine, Chicago and London: The University of Chicago, 1971, 324-339. Anthony Vidler, “Introduction,” The Architectural Uncanny: Essays in the Modern Unhomely, London: The MIT Press, 1992, 3-14. Reference: Anthony Vidler, “Shifting Around,” The Architectural Uncanny: Essays in the Modern Unhomely, London: The MIT Press, 1992, 117-145. |
| 第 5 週 | Architecture and the City II Walter Benjamin, “Some Motifs in Baudelaire,” Charles Baudelaire: A Lyric Poet in the Era of High Capitalism, translated by Harry Zohn, London: Verso, 1997, 109-154. Reference: Gaston Bachelard, The Poetics of Space, translated by Maria Jolas, New York: Penguin Books, 2014. |
| 第 6 週 | National Holiday |
| 第 7 週 | Edward Yang, Fredric Jameson, Intertextuality Terrorizers 恐怖分子 (1986, dir. Edward Yang) Frederic Jameson, “Remapping Taipei,” The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington: Indiana University Press, 1992, 114-157. Catherine Liu, “Taiwan’s Cold War Geopolitics in Edward Yang’s The Terrorizers,” Surveillance in Asian Cinema: Under Eastern Eyes, edited by Karen Fang, New York: Routledge, 2017, 113–127. References: Cao Xue-qin, The Story of the Stone, or The Dream of the Red Chamber, Vol. 1: The Golden Days, translated by David Hawkes, Penguin Classics, 1974. Chapters 1-5. [曹雪芹, 《紅樓夢》, 台北:聯經出版社, 2009.] Ivy I-Chu Chang張靄珠, “The Falsifying Force of the ‘Forgers’: Sex, Lies, and Violence in Edward Yang's Terrorizers” 楊德昌《恐怖份子》的性、謊言 、暴力, Chung-Wai Literary Quarterly 中外文學33.3 (2004): 15-37. |
| 第 8 週 | Mediation: Screens, Windows, Photographs Blow-up (1966, dir. Michelangelo Antonioni). Flannery Wilson, “Taiwanese–Italian Conjugations: The Fractured Storytelling of Edward Yang’s The Terrorizers and Michelangelo Antonioni’s Blow-Up,” New Taiwanese Cinema in Focus: Moving Within and Beyond the Frame, edited by, Edinburgh: Edinburgh University Press, 2014, pp. 47-75. Gilles Deleuze, “Postscript on the Societies of Control,” October 59 (1992): pp. 3-7. Reference: Raymond Bellour, “Concerning ‘the Photographic,’” Still Moving: Between Cinema and Photography, edited by Karen Beckman and Jean Ma, Durham and London: Duke University Press, 2008, pp. 253-276. |
| 第 9 週 | Edward Yang, Tsai Ming-liang, and Modern Taipei The Hole (洞, 1998, dir. Tsai Ming-liang蔡明亮). Michel Foucault, “Different Spaces,” Aesthetics, Method, and Epistemology: Essential Works of Foucault 1954-1984, Volume Two, translated by Robert Hurley et al, edited by James Faubion, Penguin Books, 2000, pp. 175-185. Mark Wigley, “Throwing Up Architecture,” The Architecture of Deconstruction: Derrida’s Haunt, The MIT Press, 1995. Pp. 123-148. References: Song-Hwee Lim, Tsai Ming-liang and a Cinema of Slowness, University of Hawai’i Press, 2014. What Time is It Three? (你那邊幾點?, 2001, dir. Tsai Ming-liang). The River (河流, 1997, dir. Tsai Ming-liang). |
| 第 10 週 | Edward Yang, Hou Hsiao-Hsien, and the Heroine Good Men, Good Women (好男好女, 1995, dir. Hou Hsiao-Hsien侯孝賢). Jerome Silbergeld, “The Chinese Heart in Conflict with Itself: Good Men, Good Women,” Hitchcock with a Chinese Face: Cinematic Doubles, Oedipus Triangles, and China’s Moral Voice, Seattle: The University of Washington Press, 2004, pp. 73-116. References: The Boys from Fengkuei (風櫃來的人, 1983, dir. Hou Hsiao-Hsien). Daughter of the Nile (尼羅河女兒, 1987, dir. Hou Hsiao-Hsien). Elliott Shr-tzung Shie 謝世宗, Hou Hsiao-hsien’s Gaze: Lyrical Tradition, Intertextuality, Political Culture 侯孝賢的凝視:抒情傳統、文本互涉與文化政治, Taipei台北: Social Publishing 羣學, 2021, Chapter 4 (pp. 171-215). |
| 第 11 週 | History and Memory A Brighter Summer Day 牯嶺街少年殺人事件 (1991, dir. Edward Yang) Elliott Shr-tzung Shie 謝世宗, “Edward Yang’s Tragic Heroes and Historical Reflections: Revisiting A Brighter Summer Day” 楊德昌的殉道英雄與歷史反思:重看《牯嶺街少年殺人事件》, Chung Cheng Chinese Studies 中正漢學研究 36 (2020): pp. 197-222. References: Emilie Yueh-yu Yeh, “Elvis, Allow Me to Introduce Myself: American Music and Neocolonialism in Taiwan Cinema,” Modern Chinese Literature and Culture, vol. 15, no. 1 (Spring 2003) Special Issue on Taiwan Film, pp. 1-28. A City of Sadness (悲情城市, 1989, dir. Hou Hsiao-Hsien). |
| 第 12 週 | Noir, Passion, and Murder Hsiao-Pin Yang 楊小濱, Everything You Always Wanted to Know About Hou Hsiao-Hsien, Edward Yang, and Tsai Ming-liang (But were Afraid to Ask Lacan) 你想了解的侯孝賢丶楊德昌丶蔡明亮(但又沒敢問拉岡的), Taipei 台北:INK Publishing 印刻, 2019. Chapter 2 (pp. 47-92). |
| 第 13 週 | Comedy and Satire A Confucius Confusion 獨立時代 (1994, dir. Edward Yang). Mahjong 麻將 (1996, dir. Edward Yang). Ivy I-chu Chang, “The Visible and the Invisible: Edward Yang’s Taipei Trilogy.” Taiwan Cinema, Memory, and Modernity, London: Palgrave Macmillan, 2019, pp. 19-42. Reference: Alenka Zupančič, “Structural Dynamics and Temporality of the Comical,” The Odd One In: On Comedy, London: The MIT Press, 2008, 128-147. |
| 第 14 週 | Life and Repetition Yi Yi: A One and a Two... 一一 (2000, dir. Edward Yang). Ling-Ching Chiang 江凌青, “From Media to Architecture: How Edward Yang Applies Multiple Media to Depict Taipei” 從媒介到建築:楊德昌如何利用多重媒介來呈現《一一》裡的臺北, Journal of Art Studies 藝術學研究, no. 9 (November 2011): pp. 167-209. References: Friedrich Nietzsche, “Of the Tarantulas,” and “Of the Vision and the Riddle,” Thus Spoke Zarathustra, translated by R.J. Hollingdale, Harmondsworth: Penguin Books, 1961, pp. 123-126, pp. 176-180 Paul Fung, “The Child with His Camera: Mimetic Experiences in Edward Yang’s Yi Yi,” Ex-position, no. 44 (December 2020): pp. 81-102. |
| 第 15 週 | Conclusion |
| 第 16 週 | Final Presentation |
教科書
See the course outline for details
Office Hours
- 地點
- Room 404, Zhi Xing Building, Yang Ming campus, or online
- 時間
- Only by email appointment
- 聯絡方式
- louiswclo@nycu.edu.tw