查詢教學大綱與進度

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

111-1 309582 電影的符號與詮釋 1 3.0 3 ★ 吳欣怡文發所 6 0 　

學年期	課號	課程名稱	階段	學分	時數	修	教師	班級	人	撤	備註
111-1	309582	電影的符號與詮釋	1	3.0	3	★	吳欣怡	文發所	6	0

教學大綱與進度：

教師姓名吳欣怡　教師諮商時間(Office Hours)

Email cinewu@mail.ntut.edu.tw

最後更新時間 2022-05-28 11:06:53

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, an oral presentation, and a term paper .

課程進度 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

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%

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.

課程諮詢管道歡迎使用教師資詢時間 (請先來信說明cinewu@mail.ntut.edu.tw)

備註

教師姓名	吳欣怡　教師諮商時間(Office Hours)
Email	cinewu@mail.ntut.edu.tw
最後更新時間	2022-05-28 11:06:53
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, an oral presentation, and a term paper .
課程進度	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
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%
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	歡迎使用教師資詢時間 (請先來信說明cinewu@mail.ntut.edu.tw)
備註