亞際都市：媒介、建築、空間想像

[For English course description, please scroll down] 作為當代人文社會研究「空間轉向」中最重要的核心議題，「城市」的物質基礎與文化意象深深形塑了當代文學、電影、新媒介與大眾文化之中對於地緣政治、族裔、性別、階級等議題的再現。其中，歷經殖民、冷戰、發展主義與全球化浪潮的亞洲城市更透過影音媒介發展出彼此指涉、再現、想像的多樣型式。在過去幾年，這些「空間想像」(spatial imaginary) 激發出了一波波精彩的跨領域理論對話。本課程以數個亞洲城市（東京、香港、台北、上海、首爾、新加坡、胡志明、新竹）作為亞際網路的節點，透過電影、動畫、遊戲、大眾流行媒介為案例，探討東亞/東南亞城市間彼此映照、模仿、競逐交互指涉的空間意象。 本課程結構劃分為 「媒介文本探討」、「理論導讀」、「田野探查與數位行動」三大部分。 三者同時進行、交互參照： I. 媒介案例探討: 案例探討層次，本課程涵蓋下列議題，例如：二十世紀初期日本與中國崛起的新感覺派文藝如何呈現一個由東京、上海、巴黎所連結起的歐亞都會網絡？新加坡電影《幻土》如何呈現全球化資本主義體系下，跨國移工在異鄉地景中的生存困境、身份異化與「不可見性」？經典動畫《攻殼機動隊》如何透過變造香港城市意象來構造未來的日本科技城？楊德昌的電影又如何透過1980年代台北城的現代建築指涉屬於東亞的發展主義寓言？漫畫《二十世紀少年》中再現1970年大阪萬博會、如何成為亞洲最早的擴增電影(expanded cinema )媒介實驗場，並成為殖民遺緒與冷戰宣傳的前線？越南電影 Bitcoin Heist 如何利用好萊塢經典犯罪類型創造一個透過虛擬貨幣與行動裝置連結胡志明、首爾，台北的逃逸空間？《造山者》這類非虛構影像又如何串連起新竹與舊金山灣區，描繪亞太科技地緣戰略下人流、物流、技術交織的特區與廊道？ II. 理論導讀 上述這些問題都必須透過具體觀影與視覺文本分析來逐步思考。細讀影像案例的同時，本課程搭配閱讀一系列對於社會與文化研究影響深遠的的都市與建築文化論述，例如：Walter Benjamin 在《拱廊街計畫》中所開拓的城市書寫傳統；Georg Simmel 對於都市現代性與心理狀態的經典篇章; Lewis Munford 對於都市技術文明的開拓性論述; Kevin Lynch 關於城市意象的分類及其對後現代理論家Fredric Jameson的重要啟發; 從David Harvey, Manuel Castells, Henri Lefebvre 等馬派諸子對城市空間的理論化工程; Aihwa Ong 與Saskia Sassen 對當代全球化城市景觀與跨國身份的研究; 對現代主義國際樣式發出挑戰的Kenneth Frampton 及其提出的批判地域主義; 乃至於建築理論家Anthony Vidler 被廣泛徵引的的經典觀念 「都市詭異」(urban uncanny) 等等。透過跨媒介的文本案例討論與理論導讀，本課程希望引導同學以批判性角度思考當代亞際空間的歷史系譜與空間類型，並進一步探問這些文化再現型態對空間使用者、藝術家、導演、作家、建築空間規劃者，甚至文化政策制定者產生哪些深遠影響。 III. 田野走訪與數位行動 本課程部分週次將協同本校建築所、科技與社會所，運輸與管理所之師生安排城市走讀與參訪活動，並鼓勵本課程透過實際田野考察與數位媒介影音製作為期末產出。學生可選擇以攝影、紀錄電影、空間設計、遊戲設計、虛擬策展、文化記憶庫建置等其他形式做為可能之期末作業。 Inter-Asian Urbanism: Cities, Media, and Spatial Imaginaries Course Description The city stands as one of the most consequential objects of inquiry within the "spatial turn" in contemporary humanities and social sciences. Its material foundations and cultural imagery have profoundly shaped how literature, cinema, new media, and popular culture represent geopolitics, ethnicity, gender, and class. Asian cities—having traversed colonialism, the Cold War, developmentalism, and successive waves of globalization—have developed rich and varied forms of mutual reference, representation, and imagination through audiovisual media. In recent years, these "spatial imaginaries" have sparked a vibrant series of interdisciplinary theoretical conversations. This course situates several Asian cities—Tokyo, Hong Kong, Taipei, Shanghai, Seoul, Singapore, Ho Chi Minh City, and Hsinchu—as nodes within an inter-Asian network. Drawing on case studies from film, animation, video games, and popular media, we examine the spatial imagery through which East Asian and Southeast Asian cities mirror, imitate, compete with, and cross-reference one another. The course integrates three components that proceed in tandem throughout the semester: media text analysis, theoretical readings, and fieldwork with digital practice.Media case studies address questions such as: How did Neo-Sensationalist literary magazines in early twentieth-century Japan and China represent a Euro-Asian metropolitan network linking Tokyo, Shanghai, and Paris? How does the Cold War-era Singaporean film Air Hostess (1959) envision networks of mobility through Free Asia tourism? How does Ghost in the Shell (1995) construct a futuristic techno-city by appropriating Hong Kong's urban imagery? How do Edward Yang's films mobilize 1980s Taipei architecture to articulate an allegory of East Asian developmentalism? How does 20th Century Boys represent Expo '70 in Osaka as a contested site of colonial legacy and Cold War propaganda? How does Bitcoin Heist (2016) deploy heist genre conventions to link Ho Chi Minh City, Seoul, and Taipei through cryptocurrency? And how does Chris Miller's Chip War (2022) map the corridors connecting Hsinchu and the San Francisco Bay Area within Asia-Pacific geostrategic competition?Theoretical readings ground these inquiries in foundational urban and architectural criticism: Walter Benjamin's Arcades Project; Georg Simmel on metropolitan modernity; Lewis Mumford on urban technological civilization; Kevin Lynch's urban imageability and its influence on Fredric Jameson; Marxist spatial theory from David Harvey, Manuel Castells, and Henri Lefebvre; Aihwa Ong and Saskia Sassen on global cities and transnational subjectivity; Kenneth Frampton's critical regionalism; and Anthony Vidler's concept of the architectural uncanny.Fieldwork and digital practice complement textual analysis through urban excursions and site visits. Students develop final projects integrating embodied spatial experience with media production, choosing from formats such as documentary photography, short film, spatial design, game design, virtual curation, or digital cultural memory archives.

English reading proficiency 英文閱讀能力

a. Attendance & active In-class Participation/Presentation: 30% b. Bi-Weekly reading notes: 35 % [critical summery or commentary with two questions] c. A paper or a media project: 35%

時間

By Appointment

聯絡方式

knulpyang@nycu.edu.tw