教學大綱與進度

課程基本資料：

學年期	課號	課程名稱	階段	學分	時數	修	教師	班級	人	撤	備註
110-1	294998	電影的符號與詮釋	1	3.0	3	★	吳欣怡	文發所	8	0	◎人數上限10人

教學大綱與進度：

教師姓名	吳欣怡
Email	cinewu@mail.ntut.edu.tw
最後更新時間	2021-09-06 16:00:29
課程大綱	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.
課程進度	WK 1: Introduction. WK 2: Media writing. (hang-out) from Eugenie Brinkema, “Writing about Media!” [2009] WK 3: 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: Time and consciousness-2 (S) Ivan’s Childhood, 1962, Tarkovsky (Russia) WK 5: 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: 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: Oral presentation-1 WK 8: Oral presentation-2 WK 9: Midterm WK 10: 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 11: Film sounds-2 (S) M, 1931, Fritz Lang (German). WK 12: 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 13: Film sounds-4 (S) Singin’ in the Rain, 1952 (USA). WK 14: 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 15: Auteur film-2 (S) Touch of Evil, 1958, Orson Welles (USA). WK 16: Oral presentation-1 WK 17: Oral presentation-2 WK 18: Feedback
評量方式與標準	• Attendance and strong participation in class. 20% • Midterm essay (1000 words). 30% • Oral presentation. 20% • Final essay (1000 words). 30% The essay has to be proofread by a professional editor before submitting.
使用教材、參考書目或其他	【遵守智慧財產權觀念，請使用正版教科書，不得使用非法影印教科書】 使用外文原文書：是 Refer to the syllabus.
課程諮詢管道	My email: cinewu@mail.ntut.edu.tw (by appointment). My office is at the general building (共同科館) Room 707.
課程對應SDGs指標
備註	●上課方式：遠距上課 ●評量方式： • Attendance and strong participation in class. 20% • Midterm essay (1000 words). 30% • Oral presentation. 20% • Final essay (1000 words). 30% The essay has to be proofread by a professional editor before submitting. ●補充說明資訊：