電影與文學:跨媒介進路

Film and Literature: An Intermedial Approach

學期

113-2

學分

3 學分

當期課號

133301

永久課號

SHVC30029

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	電影與文學:跨媒介進路 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

Departing from traditional methods of examining the “fidelity” of film adaptations or asking what film studies can learn from literature or vice versa, this course suggests a new approach: to take W.J.T. Mitchell’s claim that “all media are mixed media” seriously, we examine the intermediality of film adaptations and their literary “originals.” Tackling questions concerning the “literary” in cinema and the “filmic” in literature, this course also considers issues of medium-specificity, temporality, narrative and the narrator, authorship, appropriation, linguistic and cultural translation, intertextuality, genre, film adaptation, and the remake.

先修科目

No prerequisite knowledge required. However, students are encouraged to familiarized themselves with texts recommended in the Self-study flexible week.

教學方式

Students are expected to have finished the required texts (films, literary texts, or articles) before class. Full participation in presentation and discussion are expected. Required films could be found in the library. Reading materials will be provided on E3, the digital teaching platform. Teaching Assistant to be confirmed.

評分方式

1. Attendance and tutorial: 40% (Guided reading an 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.) 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。)

課程大綱

II. Issues of Film Adaptation
III. The literary in cinema and the cinematic in literature
IV. Intermediality, Intertextuality, and Interpretation
I. Introduction: What is intermediality?

週次計畫

週次	主題
第 1 週	Introduction to the course, assessment policy, etc. Irina O. Rajewsky, “Intermediality, Intertextuality, and Remediation: A Literary Perspective on Intermediality,” Remedier (Remediation), no. 6, Fall 2005, pp. 43-64.
第 2 週	Medium-specificity, adaptation, appropriation Robert Burgoyne, “The Cinematic Narrator: The Logic and Pragmatics of Impersonal Narration,” Journal of Film and Video, vol. 42, no.1 (Spring, 1990), pp. 3-16.Tom Gunning, “Narrative Discourse and the Narrator System,” Film Theory and Criticism. Eds. Leo Braudy and Marshall Cohen, Oxford and New York: Oxford UP, 1999, pp. 461-472.
第 3 週	Film adaptation: The word, the stage, and the screen Hamlet (1948, Laurence Olivier)Andre Bazin, “Theater and Cinema,” Film Theory and Criticism. Eds. Leo Braudy and Marshall Cohen, Oxford and New York: Oxford University Press, 1999, pp. 408-418.William Shakespeare, Hamlet (Arden Shakespeare: Second Series) 2nd Edition, ed. Harold Jenkins, Arden, 1982.
第 4 週	Cross-cultural adaptation Ran (1985, dir. Kurosawa)King Lear (1987, dir. Jean-Luc Godard)Walter Benjamin, “The Task of the Translator,” Illuminations: Essay and Reflections, ed. Hannah Arendt, New York: Schocken Books, 1968, pp. 69-82Reference:Throne of Blood (1957, dir. Kurosawa)
第 5 週	No class: seminar
第 6 週	Genre, law, and the law of genre Franz Kafka, The Trial, trans. Mike Mitchell, Oxford: Oxford UP, 2009.The Trial (1962, dir. Orson Welles)Jacques Derrida, “Before the Law,” Acts of Literature, ed. Derek Attridge, New York and London: Routledge, 1992, pp. 181-220.References:Raphael Foshay, “Derrida on Kafka’s ‘Before the Law,’” Rocky Mountain Review, vol. 63, no. 2 (Fall, 2009), pp. 194-206 Jacques Derrida, “The Law of Genre,” Acts of Literature, pp. 221-252.
第 7 週	Holiday
第 8 週	Narrative and anti-narrative The Marquise von O (1976, dir. Eric Rohmer)Heinrich von Kleist, “The Marquise of O-.” The Marquise of O- and other Stories, trans. David Luke and Nigel Reeves, London: Penguin, 1978, pp. 68-113.Mieke Bal, Emma and Edvard Looking Sideways: Loneliness and the Cinematic, New York: Yale University Press, 2017, Introduction and Chapter 1 (pp. 24-43).References:Kristin Thompson, “The Concept of Cinematic Excess,” Film Theory and Criticism, eds. Leo Braudy and Marshall Cohen, Oxford and New York: Oxford UP, 1999, pp. 487-498.
第 9 週	Style, memory, and the “cine-roman” Last Year at Marienbad (1961, dir. Alain Resnais)Linda Dittmar, “Structures of Metaphor in Robbe-Grillet’s Last Year in Marienbad.” boundary 2, Spring, 1980, vol. 8, no. 3 (Spring, 1980), pp. 215-240.References:Hiroshima Mon Amour (1959, dir. Alain Resnais)Cathy Caruth, Unclaimed Experience: Trauma, Narrative, History, Baltimore and London: The John Hopkins University Press, 1996, Chapter 2 (pp. 25-56).
第 10 週	Free Indirect Discourse Pier Paolo Pasolini, “The Cinema of Poetry,” trans. Marianne de Vettimo and Jacques Bontemps, Movies and Methods, ed. Bill Nichols, Berkeley: U of California P, 1976, vol. 1, pp. 542-58.Gilles Deleuze, Cinema I and II, trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: U of Minnesota P, 1986, vol. I, pp. 71-76.Reference:Guido Kirsten, “Free Indirect Style in Film and the Limits of Quantification,” A History of Cinema Without Names/2: Contexts and Practical Applications, eds. Diego Cavallotti, Simone Dotto & Leonardo Quaresima, Milano/Udine: Mimesis International, 2017, pp. 49-58.
第 11 週	The essay film For Fake (dir. Orson Welles)Jonathan Rosenbaum, “Orson Welles’s Purloined Letter: F for Fake,” Discovering Orson Welles, University of California Press, 2007, pp. 289-295.
第 12 週	Literature, the long take, and the depth-of-field Kaili Blues (2015, dir. Bi Gan)Jiwei Xiao and Dudley Andrew, “Poetics and the Periphery: The Journey of Kaili Blues (Web Exclusive).” Cineaste, Summer 2019, https://www.cineaste.com/summer2019/poetics-and-periphery-journey-of-kaili-bluesAn Elephant Sitting Still (2018, dir. Hu Bo)Wu Qian 胡遷, “An Elephant Sitting Still 大象席地而坐,” pp. 27-44 Huge Crack 大裂, Taipei: Times Publishing, 2018, pp. 28-43.Burning (2018, dir. Lee Chang-dong)Haruki Murakami, “Barn Burning,” The Elephant Vanishes, trans. Alfred Birnbaum and Jay Rubin. Vintage, 1994.References:Stalker (1979, dir. Tarkovsky)Andrei Tarkovsky, Sculpting in Time, trans. Kitty Hunter-Blair, New York: Alfred A. Knopf, 1987.
第 13 週	Intermediality and intertextuality in Edward Yang’s cinema Confucian Confusion (1994, dir. Edward Yang)Terrorizers (1986, dir. Edward Yang)David Duff, “Intertextuality versus Genre Theory: Bakhtin, Kristeva and the Question of Genre,” Paragraph, vol. 25, no. 1, March 2002, pp. 54-73.
第 14 週	Framed narrative and self-reflexivity: Film within a film Tale of Cinema (2005, dir. Hong Sang-soo)Oki’s Movie (2010, dir. Hong Sang-soo)Dennis Lim, Tale of Cinema, Decadent Editions, 2022.
第 15 週	The Remake: Jorge Luis Borges, “Pierre Menard, Author of the Quixote,” Collected Fictions. Trans. Andrew Hurley, London: Penguin Random House, 2019. pp. 88-95.Michel Foucault, “What is an Author?” Aesthetics, Method, and Epistemology, ed. James D. Faubion, New York: The New Press, 1998. pp. 205-222.Two directorsPsycho (1960, dir. Hitchcock)Psycho (1998. dir. Gus Van Sant)The Great Gatsby (1974, Jack Clayton)The Great Gatsby (2013, Baz Luhrmann)Shot-to-shotParasite (2019, dir. Bong Joon-ho)Parasite: Black-and-White Edition (2020, dir. Bong Joon-ho)References:Funny Games (1997, dir. Michael Haneke)Funny Games (2007, dir. Michael Haneke)Solaris (1972, dir. Tarkovsky)Solaris (2002, dir. Steven Soderbergh)
第 16 週	Final presentation

教科書

See the weekly plan below

Office Hours

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