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 3 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	3	0

Course Plan：

Instructor Wu,Hsin-Yi　Office Hours

Email cinewu@mail.ntut.edu.tw

Last Updated 2024-12-19 15:39:07

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, an oral presentation, and a term paper .

Course Schedule WK 1: Introduction Phase 1: Time and consciousness WK2-5 Eugenie Brinkema, 2009. “Writing about Media!” Screening (S) Nostalghia, 1983, Tarkovsky (Russia) Reading (R) Sokolowski, R.. 1999. ‘Ch.9 Temporality,’ Introduction to Phenomenology, Cambridge University Press. UK. Pp. 130-145. Phase 2: Film Space WK6-8 (S) Tokyo Story, 1953, Ozu (Japan) (R) McDonald, Keiko. 1982. ‘Ozu’s Tokyo Story: Simple Means for Complex Ends,’ in The Journal of the Association of Teachers of Japanese , Apr., 1982, Vol. 17, No. 1 (Apr., 1982), pp. 19-39 WK 9: Midterm Study WK 10-11 : Oral presentation Phase 3: Film Sounds WK12-14 (S) Three Colors: Blue, 1993, by Krzysztof Kielowski (R) Michel Chion, 1994. Translated by Claudia Gorbman. “The AudioVisual Scene,” Audio-Vivsion: Sound on Screen. Columbia University Press. pp. 66-94. (R) Silverman, Kaja. 1988. “Body Talk,” The Acoustic Mirror. IN: Indiana University Press. pp. 42-71. (R) Irena Paulus and Graham McMaster. 1999. Music in Krzysztof Kielowski's Film "Three Colors: Blue". A Rhapsody in Shades of Blue:The Reflections of a Musician, International Review of the Aesthetics and Sociology of Music, Vol. 30, No. 1(Jun., 1999), pp. 65-91. Phase 4: Auteur Film WK15-17 (R) Sarris, Andrew. 1962. “Notes on the Auteur Theory”. (R) Peter Wollen. 1972.“The Auteur Theory”. WK 18: Feedback

Evaluation and grading policy • Attendance and strong participation in class. 20% • Midterm essay (1000 words). 30% • Oral presentation. 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）
SDG17：夥伴關係（Partnerships for the Goals）

Note
　

Instructor	Wu,Hsin-Yi　Office Hours
Email	cinewu@mail.ntut.edu.tw
Last Updated	2024-12-19 15:39:07
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, an oral presentation, and a term paper .
Course Schedule	WK 1: Introduction Phase 1: Time and consciousness WK2-5 Eugenie Brinkema, 2009. “Writing about Media!” Screening (S) Nostalghia, 1983, Tarkovsky (Russia) Reading (R) Sokolowski, R.. 1999. ‘Ch.9 Temporality,’ Introduction to Phenomenology, Cambridge University Press. UK. Pp. 130-145. Phase 2: Film Space WK6-8 (S) Tokyo Story, 1953, Ozu (Japan) (R) McDonald, Keiko. 1982. ‘Ozu’s Tokyo Story: Simple Means for Complex Ends,’ in The Journal of the Association of Teachers of Japanese , Apr., 1982, Vol. 17, No. 1 (Apr., 1982), pp. 19-39 WK 9: Midterm Study WK 10-11 : Oral presentation Phase 3: Film Sounds WK12-14 (S) Three Colors: Blue, 1993, by Krzysztof Kielowski (R) Michel Chion, 1994. Translated by Claudia Gorbman. “The AudioVisual Scene,” Audio-Vivsion: Sound on Screen. Columbia University Press. pp. 66-94. (R) Silverman, Kaja. 1988. “Body Talk,” The Acoustic Mirror. IN: Indiana University Press. pp. 42-71. (R) Irena Paulus and Graham McMaster. 1999. Music in Krzysztof Kielowski's Film "Three Colors: Blue". A Rhapsody in Shades of Blue:The Reflections of a Musician, International Review of the Aesthetics and Sociology of Music, Vol. 30, No. 1(Jun., 1999), pp. 65-91. Phase 4: Auteur Film WK15-17 (R) Sarris, Andrew. 1962. “Notes on the Auteur Theory”. (R) Peter Wollen. 1972.“The Auteur Theory”. WK 18: Feedback
Evaluation and grading policy	• Attendance and strong participation in class. 20% • Midterm essay (1000 words). 30% • Oral presentation. 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） SDG17：夥伴關係（Partnerships for the Goals）
Note