Course Syllabus

Course Information：

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

Spring Semester
Year 2019 259637 The Symbols and Interpretation in Films 1 3.0 3 ★ Wu,Hsin-Yi GCVD 6 0 大碩合開課

Year-Semester	Course Number	Course Name	Phase	Credits	Hours	Required/Elective	Instructor	Class	Student NO.	Withdraw	Note
Spring Semester Year 2019	259637	The Symbols and Interpretation in Films	1	3.0	3	★	Wu,Hsin-Yi	GCVD	6	0	大碩合開課

Course Plan：

Instructor Wu,Hsin-Yi

Email cinewu@mail.ntut.edu.tw

Last Updated 2019-03-04 17:16:21

Course Objective This course aims to give the guidance to the film essay writing. In films, the off-screen elements usually play much profound roles than the on-screen ones. In the sense, the relation between the visuality and the hidden elements will be examined from scenes to scenes. Also, we will survey some of the philosophical, theoretical, and the critical literatures to further analyze the invisible aspects in the images. During this course we will focus on the subjects of “Time” and “Film sounds”. Since both subjects are invisible and they are the cinematic elements that are significant to this art form. At the end of this course, the auteur films will be discussed. Course requirements include a midterm essay and an oral presentation. By the end of semester, each MA student is required to submit a term paper and each BA student can choose to write a term paper or make a short film by preference.

Course Schedule WK 1: 2/22 General Introduction. Introduction to media writing. (hang-out) from Eugenie Brinkema, “Writing about Media!” [2009] WK 2: 3/01 HOLIDAY WK 3: 3/08 Time and consciousness-1 Reading (R) Sokolowski, R.. 1999. ‘Ch.9 Temporality,’ Introduction to Phenomenology, Cambridge University Press. UK. pp 130-145. Screening (S) Ivan’s Childhood, 1962, Tarkovsky (Russia) WK 4: 3/15 Time and consciousness-2 (S) Ivan’s Childhood, 1962, Tarkovsky (Russia) WK 5: 3/22 Time and consciousness-3 (R) Butler, A.. 2007. “‘Motor-driven metaphysics’: movement, time and action in the films of Maya Deren,” Screen. Vol.48 (1), pp1-23. (S) “Lifeline,” Ten Minutes Older, 2002, Victor Erice (Spain) (S) Meshes of the Afternoon, 1943, Maya Deren (USA) WK 6: 3/29 Time and consciousness-4 (R) Corrigan, Timothy J.. 2007. “ Film Terms and Topics for Film Analysus and Writing,” A Short Guide to Writing about Film. The U. of Pennsylvania. pp 36-81. WK 7: 4/05 HOLIDAY WK 8: 4/12 Due: Midterm essay. Invited Speech: Documentary on the High Mountain Life at Extreme Speaker: Howard Cheng（程紀皓／SenseCinema負責人、導演） WK 9: 4/19 Oral presentation-1 WK 10: 4/24 Oral presentation-2 WK 11: 5/03 Film sounds-1 (R) Michel Chion, 1994. Translated by Claudia Gorbman. “The AudioVisual Scene,” Audio-Vivsion: Sound on Screen. Columbia University Press. pp 66-94. (S) M, 1931, Fritz Lang (German). WK 12: 5/10 Film sounds-2 (S) M, 1931, Fritz Lang (German). WK 13: 5/17 Film sounds-3 (R) Silverman, Kaja. 1988. “Body Talk,” The Acoustic Mirror. IN: Indiana University Press. pp. 42-71. (S) The Wizard of OZ, 1939, Victor Fleming (USA). WK 14: 5/24 Film sounds-4 (S) Singin’ in the Rain, 1952 (USA). WK 15: 5/31 Auteur film-1 (R) Sarris, Andrew. 1962. “Notes on the Auteur Theory”. (R) Peter Wollen. 1972.“The Auteur Theory”. (S) Citizen Kane, 1929, Orson Welles (USA). WK 16: 6/07 Holiday WK 17: 6/14 Due: Final project/ an essay or a short film. Auteur film-2 (S) Touch of Evil, 1958, Orson Welles (USA). WK 18: 6/21 Feedback

Evaluation and grading policy • Attendance and strong participation in class. 20% • Midterm essay (1000 words). 30% • Oral presentation. 20% • Final project (2000 words essay or 3-5mins film). 30% • The written material has to be proofread by a professional editor before submitting.

Materials All right reserved. Do not reproduce without permission.

Foreign-language textbooks:Yes
Refer to the syllabus.

The access to curricular consultation

Note
　

Instructor	Wu,Hsin-Yi
Email	cinewu@mail.ntut.edu.tw
Last Updated	2019-03-04 17:16:21
Course Objective	This course aims to give the guidance to the film essay writing. In films, the off-screen elements usually play much profound roles than the on-screen ones. In the sense, the relation between the visuality and the hidden elements will be examined from scenes to scenes. Also, we will survey some of the philosophical, theoretical, and the critical literatures to further analyze the invisible aspects in the images. During this course we will focus on the subjects of “Time” and “Film sounds”. Since both subjects are invisible and they are the cinematic elements that are significant to this art form. At the end of this course, the auteur films will be discussed. Course requirements include a midterm essay and an oral presentation. By the end of semester, each MA student is required to submit a term paper and each BA student can choose to write a term paper or make a short film by preference.
Course Schedule	WK 1: 2/22 General Introduction. Introduction to media writing. (hang-out) from Eugenie Brinkema, “Writing about Media!” [2009] WK 2: 3/01 HOLIDAY WK 3: 3/08 Time and consciousness-1 Reading (R) Sokolowski, R.. 1999. ‘Ch.9 Temporality,’ Introduction to Phenomenology, Cambridge University Press. UK. pp 130-145. Screening (S) Ivan’s Childhood, 1962, Tarkovsky (Russia) WK 4: 3/15 Time and consciousness-2 (S) Ivan’s Childhood, 1962, Tarkovsky (Russia) WK 5: 3/22 Time and consciousness-3 (R) Butler, A.. 2007. “‘Motor-driven metaphysics’: movement, time and action in the films of Maya Deren,” Screen. Vol.48 (1), pp1-23. (S) “Lifeline,” Ten Minutes Older, 2002, Victor Erice (Spain) (S) Meshes of the Afternoon, 1943, Maya Deren (USA) WK 6: 3/29 Time and consciousness-4 (R) Corrigan, Timothy J.. 2007. “ Film Terms and Topics for Film Analysus and Writing,” A Short Guide to Writing about Film. The U. of Pennsylvania. pp 36-81. WK 7: 4/05 HOLIDAY WK 8: 4/12 Due: Midterm essay. Invited Speech: Documentary on the High Mountain Life at Extreme Speaker: Howard Cheng（程紀皓／SenseCinema負責人、導演） WK 9: 4/19 Oral presentation-1 WK 10: 4/24 Oral presentation-2 WK 11: 5/03 Film sounds-1 (R) Michel Chion, 1994. Translated by Claudia Gorbman. “The AudioVisual Scene,” Audio-Vivsion: Sound on Screen. Columbia University Press. pp 66-94. (S) M, 1931, Fritz Lang (German). WK 12: 5/10 Film sounds-2 (S) M, 1931, Fritz Lang (German). WK 13: 5/17 Film sounds-3 (R) Silverman, Kaja. 1988. “Body Talk,” The Acoustic Mirror. IN: Indiana University Press. pp. 42-71. (S) The Wizard of OZ, 1939, Victor Fleming (USA). WK 14: 5/24 Film sounds-4 (S) Singin’ in the Rain, 1952 (USA). WK 15: 5/31 Auteur film-1 (R) Sarris, Andrew. 1962. “Notes on the Auteur Theory”. (R) Peter Wollen. 1972.“The Auteur Theory”. (S) Citizen Kane, 1929, Orson Welles (USA). WK 16: 6/07 Holiday WK 17: 6/14 Due: Final project/ an essay or a short film. Auteur film-2 (S) Touch of Evil, 1958, Orson Welles (USA). WK 18: 6/21 Feedback
Evaluation and grading policy	• Attendance and strong participation in class. 20% • Midterm essay (1000 words). 30% • Oral presentation. 20% • Final project (2000 words essay or 3-5mins film). 30% • The written material has to be proofread by a professional editor before submitting.
Materials	All right reserved. Do not reproduce without permission. Foreign-language textbooks:Yes Refer to the syllabus.
The access to curricular consultation
Note