電影之外影像考：擴延電影、移動放映、實用電影、與環境影像
Images Beyond Film: Historiography of expanded cinema, useful cinema, mobile screening, and environmental images
| 節 | 週四 |
|---|---|
N 12:20–13:10 | 電影之外影像考：擴延電影、移動放映、實用電影、與環境影像 YX322 3 節連堂 |
5 13:20–14:10 | |
6 14:20–15:10 |
* 根據陽明交大上課時間表所列
本課程集中探討劇情片與紀錄片以外的影像，其鑲嵌在不斷變遷的歷史、社會、文化、技術潮流下，超越單純娛樂或藝術表達的範疇，書寫複數的影像史學（historiography）。因此，本課程既是影像的社會學，也是影像的歷史考古。 課程核心理論基礎之一是螢/銀幕學（screenology），即將螢幕視為物質與文化的研究。在這個理論框架下，我們不再將螢幕視為中立的表面，而是檢視它如何與文本交纏、組織並調度觀者情感、且建構集體經驗。在這些過程中，課程首先通過閱讀Gloria Sutton 的The Experience Machine引入關於擴延—跨媒介的討論。如果前者是媒體的藝術實驗，那麼接下來的討論更注重的是將媒體置於一個更大的社會實驗場中—民國時期與社會主義中國，作為物資、情感與集體認同的調度。在這裡會閱讀的是包衛紅的Fiery Cinema和李潔的Cinematic Guerrillas。離開政治場域，影像的中介調度角色在教育與工業領域同樣重要，如同Charles R. Acland and Heidee Wasson 的Useful Cinema以及Vinzenz Hediger and Patrick Vonderau Films That Work所展現的。最後，Yuriko Furuhata的Climatic Media結合新近的環境媒介學討論，將會引領同學通過對環境的討論，擴展同學對「媒體／介」的想像。我們不但通過媒介可以看到環境，但是反過來，環境也可以化身為一種媒介，作為另類的視覺化展現。通過修讀本課程，同學將研讀多部新近二十年以內的研究影像的重要著作，學習從多元和批判的視角揭示影像文本與發展歷史的複數性。 This course explores cinema and media as evolving mediums that extend far beyond entertainment, drawing on key works by Gloria Sutton (The Experience Machine), Weihong Bao (Fiery Cinema), Jie Li (Cinematic Guerrillas), Charles R. Acland and Heidee Wasson (Useful Cinema), and Yuriko Furuhata (Climatic Media). Together, these texts reveal how moving images function as artistic experiment, political tool, educational practice, and environmental technology. Central to our inquiry is screenology, the study of screens as material and cultural interfaces. Rather than treating the screen as a neutral surface, we examine how it mediates perception, organizes affect, and structures collective experience. The course also foregrounds cinema historiographies. Instead of viewing cinema through a single narrative of analyzing films based on texts, we push further to examine how varied perspectives reveal its multiplicity and embeddedness within broader cultural, institutional, and technological contexts. By situating cinema within diverse infrastructures and practices, students will learn to approach the medium as historically contingent, socially embedded, and constantly transforming.
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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 readings）讀畢，並積極參與討論。同學不需要額外購買教科書／閱讀材料。部分閱讀材料能通過圖書館資源（實體館藏或線上資料庫）獲得，或由導師／助教提供。
一．課堂參與 30%（導讀15% + 課堂討論15%）：學生需在課前完成當週的指定閱讀，並在課堂上積極參與討論。每週會由同學（或分組）負責導讀，並提出問題進行師生討論。導讀不是單純將讀本內容呈現，同學需要在認真閱讀文本之後，基於閱讀經驗和批判性思考，再現文本的核心討論，並同時帶出提供給課堂思考的問題。如果只是將讀本內容逐段呈現，這部分分數將不會得分。 二．期中報告 20%：期末報告的雛形，包括選擇的作品（候選名單）、理論框架、方法論等。期中的報告需撰寫不少於2000字（含註釋和參考書目，至少有五個參考書目呈現）。 三．期末報告 50%：結合課程內容，選擇影像作品進行分析討論。用來分析的影像作品必須是「非劇情片」和「非紀錄片」的作品（實用、環境、實驗、家庭影像等）。作品可以是自行創作的，或者是現有的作品。作品分析可以聚焦在作品文本、創作過程、歷史背景、或媒體事件等與本課堂討論內容相關的面向。 撰寫內容必須包括：文獻回顧、理論思考（方法論）、作品分析與解讀、作品在當代社會的意義。字數中文不少於8,000字，英文不少於5,000字（不含註解和參考文獻）。
| 週次 | 主題 |
|---|---|
| 第 1 週 | Course Introduction Readings: Monteiro, Stephen. ed. 2017. The Screen Media Reader: Culture, Theory, Practice. Bloomsbury. (Read: “Introduction”, pp. 1-11) View in class: 農復會影像 or 1930s John Hopkins University Hospital 醫學影像 |
| 第 2 週 | Screenology I Required readings: Acland, Charles R.. 2017. “The Crack in the Electric Window.” In The Screen Media Reader: Culture, Theory, Practice, edited by Stephen Monteiro. Bloomsbury. (pp. 23-28) Manovich, Lev. 2017. “A Screen’s Genealogy.” In The Screen Media Reader: Culture, Theory, Practice, edited by Stephen Monteiro. Bloomsbury. (pp. 125-132) |
| 第 3 週 | Screenology II Required reading: Huhtamo, Erkki. 2017. “Screenology; or, Media Archaeology of the Screen.” In The Screen Media Reader: Culture, Theory, Practice, edited by Stephen Monteiro. Bloomsbury. (pp. 77-123) Optional: Parikka, Jussi. 2012. What is Media Archaeology. Polity. (Read: “Chapter 1: Cartographies of the Old and the New”, pp. 1-18) Start from next week, students will be divided into groups to lead in-class reading discussions. |
| 第 4 週 | Expanded Cinema I Youngblood, Gene. 2020. Expanded Cinema: 50th Anniversary Edition. Fordham University Press. (Read: “Introduction to the Fiftieth Anniversary Edition”, pp. xiii-xxxii, 有圖共20頁) Higgins, Dick, and Higgins, Hannah. “Intermedia.” Leonardo 34, no. 1 (2001): 49-54. Access via https://www.professores.uff.br/ricardobasbaum/wp-content/uploads/sites/164/2018/05/Higgins_1965.pdf VanDerbeek, Stan. 2017. “‘Culture: Intercom’ and Expanded Cinema: A Proposal and Manifesto.” In The Screen Media Reader: Culture, Theory, Practice, edited by Stephen Monteiro. Bloomsbury. (pp. 417-420) |
| 第 5 週 | Expanded Cinema II Sutton, Gloria. 2015. The Experience Machine. MIT Press. (Read: “Introduction”, pp.1-17 ; “Prototyping Participation”, pp.19-50) Note: Week 4+5 will have 4 students in total to lead the discussion. |
| 第 6 週 | 校際活動週，改為reading week，並鼓勵同學與老師meeting discussion |
| 第 7 週 | Infrastructure, Affect, and Cine-mobility I Required readings: Bao, Weihong. 2015. Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945. University of Minnesota Press. (Read: “Introduction”, pp. 1-36; “2.A Culture of Resonance”, pp. 91-149多圖) |
| 第 8 週 | Infrastructure, Affect, and Cine-mobility II Required readings: Bao, Weihong. 2015. Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945. University of Minnesota Press. (Read: “3.Dances of Fire”, pp. 153-197多圖) Note: Week 6+7 will have 4 students in total to lead the discussion. |
| 第 9 週 | Infrastructure, Affect, and Cine-mobility III Required readings: Li, Jie. 2024. Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China. Columbia University Press. (Read: “Introduction”, pp. 1-37多圖; “Chapter Two: Mobile Projectionist and the Things They Carried”, pp. 66-90多圖) |
| 第 10 週 | Infrastructure, Affect, and Cine-mobility IV Required readings: Li, Jie. 2024. Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China. Columbia University Press. (Read: “Chapter Five: The Hot Noise of Open-Air Cinema”, pp. 145-162; “Chapter Six: Guerrilla Cinema and Guerrilla Reception”, pp. 163-192多圖) Note: Week 8+9 will have 4 students in total to lead the discussion. |
| 第 11 週 | 期中報告 |
| 第 12 週 | Useful Cinema I Required readings: Acland, Charles R., and Wasson, Heidee. eds. 2011. Useful Cinema. Duke University Press. (Read: “Introduction”, pp. 1-16) Groening, Stephen. 2011. “‘We Can See Ourselves as Others See Us’: Women Workers and Western Union’s Training Films in the 1920s.” In Useful Cinema, edited by Charles R. Acland and Heidee Wasson. Duke University Press. (pp. 34-58) Zryd, Michael. 2011. “Experimental Film as Useless Cinema.” In Useful Cinema, edited by Charles R. Acland and Heidee Wasson. Duke University Press. (pp. 315-336多圖) |
| 第 13 週 | Useful Cinema II Required readings: Hediger, Vinzenz and Vonderau, Patrick. 2009. “Record, Rhetoric, Rationalization: Industrial Organization and Film.” In Films that Work: Industrial Film and the Productivity of Media, edited by Vinzenz Hediger and Patrick Vonderau. Amsterdam University Press. (pp. 35-50) Kessler, Frank and Masson, Eef. 2009. “Layers of Cheese: Generic Overlap in Early Non-Fiction Films on Production Processes.” In Films that Work: Industrial Film and the Productivity of Media, edited by Vinzenz Hediger and Patrick Vonderau. Amsterdam University Press. (pp. 75-84) Canjels, Rudmer. 2009. “Films from Beyond the Well: A Historical Overview of Shell Films.” In Films that Work: Industrial Film and the Productivity of Media, edited by Vinzenz Hediger and Patrick Vonderau. Amsterdam University Press. (pp. 243-255多圖) Note: Week 11+12 will have 4 students in total to lead the discussion |
| 第 14 週 | Environment/Media I Griffiths, Alison. 2011. “‘A Moving Picture of the Heavens’: The Planetarium Space Show as Useful Cinema.” In Useful Cinema, edited by Charles R. Acland and Heidee Wasson. Duke University Press. (pp. 230-259) Bao, Weihong, Gaboury, Jacob, and Morgan, Daniel. “Introduction: Medium/Environment.” Critical Inquiry 39, no. 3 (2023): 301-314. |
| 第 15 週 | Environment/Media II Furuhata, Yuriko. 2022. Climatic Media: Transpacific Experiments in Atmospheric Control. Duke University Press. (Read: “Introduction”, pp. 1-24; “1. Outdoor Weather”, pp. 25-47) Note: Week 13+14 will have 4 students in total to lead the discussion |
| 第 16 週 | Final Discussion Li, Jie. 2024. Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China. Columbia University Press. (Read: “Epilogue”, pp. 241-250) Hagener, Malte and Zimmermann, Yvonne. 2024. “Introduction: Unpacking Film History’s Own Histories: Towards an Archaeology of Film Historiography”, in How Film Histories Were Made: Materials, Methods, Discourses, edited by Malte Hagener and Yvonne Zimmermann. Amsterdam University Press. (Read the first part of this chapter, pp. 13-29) |
另詳見每週讀本安排 主要文本： • Monteiro, Stephen. ed. 2017. The Screen Media Reader: Culture, Theory, Practice. Bloomsbury. • Sutton, Gloria. 2015. The Experience Machine. MIT Press. • Bao, Weihong. 2015. Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945. University of Minnesota Press. • Li, Jie. 2024. Cinematic Guerrillas: Propaganda, Projectionists, and Audiences in Socialist China. Columbia University Press. • Acland, Charles R., and Wasson, Heidee. eds. 2011. Useful Cinema. Duke University Press. • Hediger, Vinzenz, and Vonderau, Patrick. 2009. Films that Work: Industrial Film and the Productivity of Media. Amsterdam University Press. • Furuhata, Yuriko. 2022. Climatic Media: Transpacific Experiments in Atmospheric Control. Duke University Press.
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- Email 與老師約定
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