Course Syllabus

Course Information：

Year-Semester Course Number Course Name Phase Credits Hours Required/Elective Instructor Class Student NO. Withdraw Note

Spring Semester
Year 2025 343207 Theory and Praxis in Moving Images 1 3.0 3 ★ Wu,Hsin-Yi GCVD 5 0 　

Year-Semester	Course Number	Course Name	Phase	Credits	Hours	Required/Elective	Instructor	Class	Student NO.	Withdraw	Note
Spring Semester Year 2025	343207	Theory and Praxis in Moving Images	1	3.0	3	★	Wu,Hsin-Yi	GCVD	5	0

Course Plan：

Instructor Wu,Hsin-Yi　Office Hours

Email cinewu@mail.ntut.edu.tw

Last Updated 2025-03-06 12:01:21

Course Objective This course aims to exam sensory experiences and cultural significances of various cinematic forms from art cinema, documentaries, and experimental images to the digital turn of VR films and beyond. However, the goal of the course is not to be a historical survey but instead an investigation of this hybrid moment and its relationship to aesthetics, culture, technology, and modernity. Readings cover topics in film theory, media theory, and visual cultural critical theory.

Course Schedule WK 1: Introduction Phase 1: What is Moving-Image? Past, Present and Future. WK2-6 Eugenie Brinkema, 2009. “Writing about Media!” Reading (R): Ways of Seeing. Ch1. Ch2. (R): Benjamin, Walter. 1970. “The Work of Art in the Age of Mechanical Reproduction, ” Illuminations. Translated by Harry Zohn. LDN: Jonathan. (R): Lee, Yulin. 2013. “The Digital Emergence of a New History: The Archiving of Colonial Japanese Documentaries on Taiwan,” Concentric: Literacy and Cultural Studies 39.1.: 119-136. (S): Southward Expansion to Taiwan (1939-1940), 24 Frames (Abbas Kiarostami, 2017), Taste of Cherry (Abbas Kirostami, 1997) Phase 2: Beyond Visuality: Sensorium on Screen and Embodiment WK7-8 (R): Sobchack, V.. 2004. ”What My Fingers Knew,” in Carnal Thoughts: Embodiment and Moving Image Culture. CA: University of California Press, Ltd.. 53-84. (R): Sobchack, Vivian. 2004. ‘The Expanded Gaze in Contracted Space: Happenstance, Hazard, and the Fleshes of the World,” Carnal Thoughts: Embodiment and Moving Image Culture. CA: University of California Press. pp. 85-108. (R): Marks, Laura. U. 2002. ‘I Am Very Frightened by the Things I Film,’ ”Touch: Sensuous Theory and Multisensory Media.” University of Minnesota Press. pp. 41-56. (S): Dekalog I (Krzystof Kieslowki, 1988), The Piano (Jane Campion, 1993), The Return of Gods and Ancestors: Paiwan Five Year Ceremony《神祖之歸：排灣族五祭》（Hu Tai-Li, 1984） WK 9: Midterm Study WK 10-14 : Oral presentation and Discussion Rose, Gillian, 2002. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. Ch2: ‘The good eye’: looking at pictures using compositional interpretation. pp. 33-53. Ch3: Content analysis: counting what you (think you) see. pp. 54-68. Ch4: Semiology: laying bare the prejudices beneath the smooth surface of the beautiful. pp. 69-99. Ch5: Psychoanalysis: Visual culture, visual pleasure, visual disruption. pp. 100-134. Ch6: Discourse analysis I: text, intertextuality, context. pp. 135-163. Ch7: Discourse analysis II: institutions and ways of seeing. pp. 164-186. Phase 4: The Museum Visits and the Discussions WK15-16 Screens, Media and Archives/ National Palace Museum WK 17-18: Feedback

Evaluation and grading policy • Attendance and strong participation in class. 20% • Oral presentation. 30% • Midterm essay (1000 words). 20% • Final essay (1000 words). 30%

Materials All right reserved. Do not reproduce without permission.

Foreign-language textbooks:Yes
Refer to the syllabus.

The access to curricular consultation cinewu@mail.ntut.edu.tw

The course corresponds to the SDGs SDG4：優質教育（Quality Education）
SDG11：永續城市與社區（Sustainable Cities and Communities）

Does the course incorporate AI

Note
　

Instructor	Wu,Hsin-Yi　Office Hours
Email	cinewu@mail.ntut.edu.tw
Last Updated	2025-03-06 12:01:21
Course Objective	This course aims to exam sensory experiences and cultural significances of various cinematic forms from art cinema, documentaries, and experimental images to the digital turn of VR films and beyond. However, the goal of the course is not to be a historical survey but instead an investigation of this hybrid moment and its relationship to aesthetics, culture, technology, and modernity. Readings cover topics in film theory, media theory, and visual cultural critical theory.
Course Schedule	WK 1: Introduction Phase 1: What is Moving-Image? Past, Present and Future. WK2-6 Eugenie Brinkema, 2009. “Writing about Media!” Reading (R): Ways of Seeing. Ch1. Ch2. (R): Benjamin, Walter. 1970. “The Work of Art in the Age of Mechanical Reproduction, ” Illuminations. Translated by Harry Zohn. LDN: Jonathan. (R): Lee, Yulin. 2013. “The Digital Emergence of a New History: The Archiving of Colonial Japanese Documentaries on Taiwan,” Concentric: Literacy and Cultural Studies 39.1.: 119-136. (S): Southward Expansion to Taiwan (1939-1940), 24 Frames (Abbas Kiarostami, 2017), Taste of Cherry (Abbas Kirostami, 1997) Phase 2: Beyond Visuality: Sensorium on Screen and Embodiment WK7-8 (R): Sobchack, V.. 2004. ”What My Fingers Knew,” in Carnal Thoughts: Embodiment and Moving Image Culture. CA: University of California Press, Ltd.. 53-84. (R): Sobchack, Vivian. 2004. ‘The Expanded Gaze in Contracted Space: Happenstance, Hazard, and the Fleshes of the World,” Carnal Thoughts: Embodiment and Moving Image Culture. CA: University of California Press. pp. 85-108. (R): Marks, Laura. U. 2002. ‘I Am Very Frightened by the Things I Film,’ ”Touch: Sensuous Theory and Multisensory Media.” University of Minnesota Press. pp. 41-56. (S): Dekalog I (Krzystof Kieslowki, 1988), The Piano (Jane Campion, 1993), The Return of Gods and Ancestors: Paiwan Five Year Ceremony《神祖之歸：排灣族五祭》（Hu Tai-Li, 1984） WK 9: Midterm Study WK 10-14 : Oral presentation and Discussion Rose, Gillian, 2002. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. Ch2: ‘The good eye’: looking at pictures using compositional interpretation. pp. 33-53. Ch3: Content analysis: counting what you (think you) see. pp. 54-68. Ch4: Semiology: laying bare the prejudices beneath the smooth surface of the beautiful. pp. 69-99. Ch5: Psychoanalysis: Visual culture, visual pleasure, visual disruption. pp. 100-134. Ch6: Discourse analysis I: text, intertextuality, context. pp. 135-163. Ch7: Discourse analysis II: institutions and ways of seeing. pp. 164-186. Phase 4: The Museum Visits and the Discussions WK15-16 Screens, Media and Archives/ National Palace Museum WK 17-18: Feedback
Evaluation and grading policy	• Attendance and strong participation in class. 20% • Oral presentation. 30% • Midterm essay (1000 words). 20% • Final essay (1000 words). 30%
Materials	All right reserved. Do not reproduce without permission. Foreign-language textbooks:Yes Refer to the syllabus.
The access to curricular consultation	cinewu@mail.ntut.edu.tw
The course corresponds to the SDGs	SDG4：優質教育（Quality Education） SDG11：永續城市與社區（Sustainable Cities and Communities）
Does the course incorporate AI
Note