Course Syllabus

Course Information：

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

Spring Semester
Year 2026 357266 Theory and Praxis in Moving Images 1 3.0 3 ★ Wu,Hsin-Yi GCVD 12 0 上限10人

Year-Semester	Course Number	Course Name	Phase	Credits	Hours	Required/Elective	Instructor	Class	Student NO.	Withdraw	Note
Spring Semester Year 2026	357266	Theory and Praxis in Moving Images	1	3.0	3	★	Wu,Hsin-Yi	GCVD	12	0	上限10人

Course Plan：

Instructor Wu,Hsin-Yi　Office Hours

Email cinewu@mail.ntut.edu.tw

Last Updated 2026-03-09 10:13:04

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. WK1-3 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 WK4-6 (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） Phase 3: Violence WK 7-8 (R): Didi-Huberman, G. 2012. Images in Spite of All. Four Photographs from Auschwitz. (R): Hong, Guo-Juin. 2011. Taiwan Cinema: A Contested Nation on Screen. Palgrave MacMillan. (S): Night and Fog (夜與霧，1955，法國 ), Hand in Hand (牽阮的手，2011，臺灣), A City of Sadness (悲情城市，1989，臺灣). Due 4/14: The mid-term assignment 4/11, 4/18 Two-day Workshop. Sat. 9-12am & 1-4pm. General Building 614. 5/11-5/13. Exhibition. General Building B1 Gallery. WK 9: Midterm Study WK 10: The Museum Visit (TBC, to be confirmed) WK 11-14 : Oral presentation and Discussion (R): Rose, Gillian, 2016. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. Ch1-3 Ch 4: `the good eye': looking at pictures using compositional interpretation. & Ch12: Images as Research Data. Ch7: Psychoanalysis: Visual culture, visual pleasure, visual disruption. Ch 8: Discourse analysis I: text, intertextuality, context. & Ch10: Audiences Studies Ch 9: Discourse analysis II: institutions and ways of seeing. Ch11: Digital Methods & Ch13. WK15-18: No Class. Replaced with the two-day Workshop in April. Due 6/02: The final assignment

Evaluation and grading policy Attendance and strong participation in class. 20% Oral presentation. 20% Individual assignment. 40% (Midterm 20%; Final 20% ) Artwork and Exhibition. 20%

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

Expanding teaching and resources ● 數位科技融入 (Digital Technology Integration)
運用生成式AI、VR/AR、IoT、IRS等新興科技輔助教學與評量。
Utilizes emerging technologies such as Generative AI, VR/AR, IoT, and IRS (Interactive Response Systems) to facilitate teaching and assessment.
● 參與式創新教學 (Participatory & Innovative Teaching)
強調學生參與與產出，導入翻轉、PBL/專題、設計思考或遊戲化等策略。
Emphasizes student engagement and outcomes by adopting strategies such as Flipped Classroom, PBL (Problem/Project- Based Learning), Design Thinking, or Gamification.
● 數位教材資源應用 (Application of Digital Resources)
採用影音多媒體或具開放授權之資源（如OCW、開放教科書）作為主要或輔助教材。
Adopts multimedia or open-licensed resources (e.g., OCW, Open Textbooks) as primary or supplementary teaching materials.

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 ● 鼓勵學生使用生成式AI工具（Encourage students to use generative AI tools）
● 簡單介紹AI的基本概念（Briefly introduce the basic concept of AI）

Note
　

Instructor	Wu,Hsin-Yi　Office Hours
Email	cinewu@mail.ntut.edu.tw
Last Updated	2026-03-09 10:13:04
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. WK1-3 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 WK4-6 (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） Phase 3: Violence WK 7-8 (R): Didi-Huberman, G. 2012. Images in Spite of All. Four Photographs from Auschwitz. (R): Hong, Guo-Juin. 2011. Taiwan Cinema: A Contested Nation on Screen. Palgrave MacMillan. (S): Night and Fog (夜與霧，1955，法國 ), Hand in Hand (牽阮的手，2011，臺灣), A City of Sadness (悲情城市，1989，臺灣). Due 4/14: The mid-term assignment 4/11, 4/18 Two-day Workshop. Sat. 9-12am & 1-4pm. General Building 614. 5/11-5/13. Exhibition. General Building B1 Gallery. WK 9: Midterm Study WK 10: The Museum Visit (TBC, to be confirmed) WK 11-14 : Oral presentation and Discussion (R): Rose, Gillian, 2016. Visual Methodologies: An Introduction to the Interpretation of Visual Materials. Ch1-3 Ch 4: `the good eye': looking at pictures using compositional interpretation. & Ch12: Images as Research Data. Ch7: Psychoanalysis: Visual culture, visual pleasure, visual disruption. Ch 8: Discourse analysis I: text, intertextuality, context. & Ch10: Audiences Studies Ch 9: Discourse analysis II: institutions and ways of seeing. Ch11: Digital Methods & Ch13. WK15-18: No Class. Replaced with the two-day Workshop in April. Due 6/02: The final assignment
Evaluation and grading policy	Attendance and strong participation in class. 20% Oral presentation. 20% Individual assignment. 40% (Midterm 20%; Final 20% ) Artwork and Exhibition. 20%
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
Expanding teaching and resources	● 數位科技融入 (Digital Technology Integration) 運用生成式AI、VR/AR、IoT、IRS等新興科技輔助教學與評量。 Utilizes emerging technologies such as Generative AI, VR/AR, IoT, and IRS (Interactive Response Systems) to facilitate teaching and assessment. ● 參與式創新教學 (Participatory & Innovative Teaching) 強調學生參與與產出，導入翻轉、PBL/專題、設計思考或遊戲化等策略。 Emphasizes student engagement and outcomes by adopting strategies such as Flipped Classroom, PBL (Problem/Project- Based Learning), Design Thinking, or Gamification. ● 數位教材資源應用 (Application of Digital Resources) 採用影音多媒體或具開放授權之資源（如OCW、開放教科書）作為主要或輔助教材。 Adopts multimedia or open-licensed resources (e.g., OCW, Open Textbooks) as primary or supplementary teaching materials.
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	● 鼓勵學生使用生成式AI工具（Encourage students to use generative AI tools） ● 簡單介紹AI的基本概念（Briefly introduce the basic concept of AI）
Note