動態影像之思考
Thinking with Moving Images
| 節 | 週二 |
|---|---|
5 13:20–14:10 | 動態影像之思考 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
What forms of thinking does cinema develop? Different ways of thinking with moving images will be explored, including an examination of various notions of thinking in relation to cinema. Concepts discussed include time, sense, non-sense, the unconscious, perception, distraction, and desire. The course will start with basic elements of cinema, including montage, the long take, soundscape, and narrative, followed by a revaluation of theoretical approaches to cinematic images. We will conclude with a study in alternative understandings of thinking, including poetic thinking and affective responses. Students will be exposed to classic film theoretical writings and a variety of important film texts. 電影可發展出甚麼形式的思考？課程探索動態影像和不同思考模式的關係，並檢視與電影相關的各種概念。包括時間性、意義、無意義、無意識、感知、分心和慾望等。課程從電影的基本元素入手，包括蒙太奇、長鏡頭、音景和敘事，然後重新評估動態影像的理論和方法。課程探討思考的另類理解，包括詩意思維和情感反應。學生從電影文本的細讀技巧和經典電影理論著作的分析中發展對「思考的思考」。
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.
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 | 主題 |
|---|---|
| 第 1 週 | 1. Introduction Explaining the course outline, teaching format, and assessment Reference: The Pervert's Guide to Cinema (2006) directed by Sophie Fiennes, scripted and presented by Slavoj Žižek. Battleship Potemkin (1925) (dir. Eisenstein) Stam, Robert. ‘The Soviet Montage-Theorists.’ Film Theory: An Introduction. Blackwell, 2000, pp. 37-47. Bazin, André. ‘The Virtues and Limitations of Montage.’ What is Cinema? I and II, translated by Jean Renoir and Hugh Gray. U of California P, 2005, pp. 41-52. |
| 第 2 週 | 2. Montage and the nature of cinema Citizen Kane (1941) (dir. Orson Welles) Bazin, André. ‘The Technique of Citizen Kane.’ Bazin at Work: Major Essays and Reviews from the Forties and Fifties, translated by Alain Piette and Bert Cardullo, edited by Bert Cardullo, Routledge, 1997, pp. 231-239. Deleuze, Gilles. Cinema I and II, translated by Hugh Tomlinson and Barbara Habberjam. U of Minnesota P, 1986, vol. I, pp. 105-116 (on Orson Welles’s cinema). References: Marrati, Paola. Cinema and Philosophy, translated by Alisa Hartz. The Johns Hopkins UP, 2008. Stam, Robert. ‘Just in Time: The Impact of Deleuze.’ Film Theory: An Introduction. Blackwell, 2000, pp. 256-262. Rodowick, David Norman. Gilles Deleuze’s Time Machine, Duke UP, 1997. Bogue, Ronald. Deleuze on Cinema (Deleuze and the Arts: Vol. 1), Routledge, 2003. Pisters, Patricia. The Matrix of Visual Culture: Working with Deleuze in Film Theory, Stanford UP, 2003. |
| 第 3 週 | 3. Sound and music in cinema Modern Times (1936) (dir. Charles Chaplin) Winters, Ben. ‘The Non-Diegetic Fallacy: Film, Music, and Narrative Space.’ Music & Letters, vol. 91, no. 2, May 2010, pp. 224-244. Reference: Chion, Michel. The Voice in Cinema, translated by Claudia Gorbman, Columbia UP, 1999. Biancorosso, Giorgio. Situated Listening. Oxford UP, 2016, pp. 21-46. |
| 第 4 週 | . The long take: concentration and distraction Like Someone in Love (2012) (dir. Abbas Kiarostami) Koepnick, Lutz. The Long Take: Art Cinema and the Wondrous. U of Minnesota P, 2017, Chapter 7, especially pp. 187-207. References: Eternity and a Day (1998) (dir. Theo Angelopoulos) Jameson, Fredric. ‘Angelopoulos and Collective Narrative.’ The Cinema of Theo Angelopoulos, edited by Angelos Koutsourakis and Mark Steven. Edinburgh UP, 2015, pp. 99-113. |
| 第 5 週 | 5. POV: The narrator Good Men, Good Women (dir. Hou Hsiao-hsien) Chen, Yun-hua. ‘Deleuze and Hou Hsiao-hsien’s “Mosaic” in Good Men, Good Women.’ Journal of Chinese Cinemas, vol. 8, no. 2, 2014, pp. 160-171. |
| 第 6 週 | 6. Guest lecture (online) - TBA |
| 第 7 週 | 7. No class – tutorial on mid-term paper Mid-term paper due (date TBA) |
| 第 8 週 | Part II: The cinematic screen and critical theory 8. Psychoanalysis and the cinematic gaze Peeping Tom (1960) (dir. Michael Powell) Vertigo (1958) (dir. Hitchcock) Bronfen, Elisabeth. ‘Killing Gazes, Killing in the Gaze: On Michael Powell’s Peeping Tom.’ Sic 1: Gaze and Voice as Love Objects, edited by Renata Salecl and Slavoj Žižek, Duke UP, 1996, pp. 59-89. Reference: Mulvey, Laura. ‘Visual Pleasure and Narrative Cinema.’ Screen, vol. 16, Autumn 1975, pp. 6-18. Linderman, Deborah. ‘The Mise-en-Abîme in Hitchcock’s Vertigo.’ Cinema Journal, vol. 30, no. 4, Summer 1991, pp. 51-74. Modleski, Tania. ‘Femininity by Design: Vertigo.’ The Women Who Knew Too Much: Hitchcock and Feminist Theory. Routledge, 2005, Chapter 6, pp. 89-102. Sullivan, Jack. ‘Vertigo: The Music of Longing and Loss.’ Hitchcock’s Music, Yale UP, 2006. |
| 第 9 週 | 9. Reality and dream image Lost Highway (1997) (dir. David Lynch) Herzogenrath, Bernd. ‘Strange Topologics: Deleuze Takes a Ride Down David Lynch’s Lost Highway.’ Film as Philosophy, edited by Bernd Herzogenrath. U of Minnesota P, 2017, Chapter 8, 161-179. Reference: Mulholland Drive (2001) (dir. David Lynch) McGowan, Todd. ‘Lost on Mulholland Drive: Navigating David Lynch's Panegyric to Hollywood.’ Cinema Journal, vol. 43, no. 2, Winter 2004, pp. 67-89. Thain, Alanna. ‘Into the Folds: David Lynch’s Hollywood Trilogy.’ Bodies in Suspense: Time and Affect in Cinema. U of Minnesota P, 2017, Chapter 2, pp. 119-175. |
| 第 10 週 | 10. ‘Progress’ and historiography Peppermint Candy (2000) (dir. Lee Chang-dong) McGowan, Todd. ‘Affirmation of the Lost Object: Peppermint Candy and the End of Progress.’ Symplokē, vol. 15, no. 1/2, Cinema without Borders, 2007, pp. 170-189. |
| 第 11 週 | 11. Meaning in excess Ivan the Terrible (1944) (dir. Eisenstein) Barthes, Roland. ‘The Third Meaning: Research Notes on Some Eisenstein Stills.’ Image, Music, Text, translated by Stephen Heath, Fontanal Press, 1977, pp. 52-78, and still images I to XVI (between pp.128-129). Reference: Watts, Philip. Roland Barthes’ Cinema, Oxford UP, 2016. |
| 第 12 週 | 12. Alternative histories and multi-ending films Blind Chance (1987) (dir. Kieślowski) Run Lola Run (1998) (dir. Tom Tykwer) Žižek, Slavoj. ‘Chance and Repetition in Kieslowski.’ Paragraph, vol. 24, no. 2, July 2001, pp. 23-39 Reference: Right Now, Wrong Then (2015) (dir. Hong Sang-soo) |
| 第 13 週 | 13. Image, memory, and the screen ffrench, Patrick. ‘Screen Memories / Screen Histories.’ Thinking Cinema with Proust. Cambridge: Legenda, 2018, pp. 157-188. |
| 第 14 週 | 14. Cinema’s self-reflexivity Goodbye, Dragon Inn (2003) (dir. Tsai Ming-liang) Ma, Jean. ‘The Haunted Movie Theater.’ Melancholy Drift: Marking Time in Chinese Cinema. Hong Kong UP, 2011, Chapter 4, pp. 95-122. Reference: Lim, Song Hwee. Tsai Ming-Liang and a Cinema of Slowness. U of Hawai’i P, 2014. |
| 第 15 週 | 15. Poetry and poetic cinema Stalker (1979) (dir. Andrei Tarkovsky) Riley, John A. ‘Hauntology, Ruins, and the Failure of the Future in Andrei Tarkovsky's Stalker.’ Journal of Film and Video, vol. 69, no. 1, Spring 2017, pp. 18-26. Reference: Kaili Blues (2016) (dir. Bi Gan) |
| 第 16 週 | 16. Conclusion and individual presentation |
See the schedule for details.