Chou Hsiu-shan
我的主題:世界異境的紀實與虛構
想從《Nanook of the North》去探討

notice: personal research proposal

please pay attention to the following format. thanks!

3.個人報告
以個人興趣為主，融入課堂觀影經驗。(參考下列研究議題)
報告以Word檔案、網站...等方式繳交，注意必須要有視覺輔助部分。
繳交時間為12月底. csalbert@mails.fju.edu.tw
沒有字數的要求, 但是有品質的考慮.
(參考架構)
a.研究動機
b.研究問題
c. 視覺影像
d. 主要概念

dogme 95 manifesto

"I swear to submit to the following set of rules drawn up and confirmed by DOGME 95:

1.
Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).

2.
The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot).

3.
The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place).

4.
The film must be in colour. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera).

5.
Optical work and filters are forbidden.

6.
The film must not contain superficial action. (Murders, weapons, etc. must not occur.)

7.
Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)

8.
Genre movies are not acceptable.

9.
The film format must be Academy 35 mm.

10.
The director must not be credited.

Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a "work", as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.Thus I make my VOW OF CHASTITY."
Copenhagen, Monday 13 March 1995

masculinity under construction

propaganda, or visual persuasion

visuality/ representation/ war/ trauma

group list

Visual Communication: Images with Messages

group list

第四章 人腦看見什麼東西
哲學二王友達592030214
會二乙陳姿? 592712331
會四甲張鳳儀590711541
圖資一廖逸樺593100456
日三甲吳偌黨591241397
日三甲李嘉玲591241127

第五章 視覺傳播的感官與感知理論
圖資三張雅君591100244
圖資三陳穎虹591100131
圖資二施俞僡592100564
圖資四周明珠590100481
哲學四張良安590030480
圖資三田家齊591100402

第六章 廣告公關和期刊中的視覺說服
英文 韓 琳592202178
大傳一利雅芳593090390
大傳一羅叡琳593090223
大傳一方宥心593090039
織品三林彥呈491470353

第七章 傷人的影像:媒體呈現的圖像是刻板印象
大傳一蔡詠蓁
大傳一羅詩穎
大傳一吳眞儀
大傳一黃川玲

第八章 印刷設計
經二乙郭竹君592652294
經二乙潘治潔592652282
經二乙陳又慈592652141
經二甲林宜嫺

第九章 平面設計
大傳一周秀珊
大傳一郭承穎
大傳一徐家瑜
大傳一劉士銘
大傳一林士閔
大傳二司承運

第十章 資訊圖像
會一乙張殷瑜593712364
大傳三歐芳怡591702573
統資五邱柏鈞589720030

第十一章 連環漫畫
大傳一柯政伶
大傳一張凱筑
大傳一葉蓁蓁
大傳一蔣孟君
大傳一許齡尹

第十二章 攝影
大傳一汪昭慧
大傳一李佳玲
大傳一蔡修芳
大傳一謝筑琪

第十三章 電影
大傳一李學維
大傳一李國鼎
大傳一周秉坤
大傳一程香菱
? 郭源叡592701198

第十四章 電視與影片
大傳一邱明達
大傳一柯毓萱
大傳一蔣玉瑞
大傳一陳健驊
大傳一何宜學

第十五章 電腦
大傳一張凱喨
大傳一林書歆
大傳一張雅惠
大傳一闕圩書
大傳一陳姝彣
大傳一陳詩文

第十六章 全球資訊網
TBA

picturing the century

lumiere and company

nanook of the north

a man with movie camera, vertov

john berger, photo 

Michael Moore's Fahrenheit911 

The beginning of history

Fahrenheit 9/11 has touched millions of viewers across the world. But could it actually change the course of civilisation?
John BergerTuesday August 24, 2004The Guardian


Fahrenheit 9/11 is astounding. Not so much as a film - although it is cunning and moving - but as an event. Most commentators try to dismiss the event and disparage the film. We will see why later.

The artists on the Cannes film festival jury apparently voted unanimously to award Michael Moore's film the Palme d'Or. Since then it has touched many millions across the world. In the US, its box-office takings for the first six weeks amounted to more than $100m, which is, astoundingly, about half of what Harry Potter made during a comparable period. Only the so-called opinion-makers in the media appear to have been put out by it.

The film, considered as a political act, may be a historical landmark. Yet to have a sense of this, a certain perspective for the future is required. Living only close-up to the latest news, as most opinion-makers do, reduces one's perspectives. The film is trying to make a small contribution towards the changing of world history. It is a work inspired by hope.

What makes it an event is the fact that it is an effective and independent intervention into immediate world politics. Today it is rare for an artist to succeed in making such an intervention, and in interrupting the prepared, prevaricating statements of politicians. Its immediate aim is to make it less likely that President Bush will be re-elected next November.
To denigrate this as propaganda is either naive or perverse, forgetting (deliberately?) what the last century taught us. Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast. Propaganda invariably serves the long-term interests of some elite.

This single maverick movie is often reflectively slow and is not afraid of silence. It appeals to people to think for themselves and make connections. And it identifies with, and pleads for, those who are normally unlistened to. Making a strong case is not the same thing as saturating with propaganda. Fox TV does the latter; Michael Moore the former.

Ever since the Greek tragedies, artists have, from time to time, asked themselves how they might influence ongoing political events. It's a tricky question because two very different types of power are involved. Many theories of aesthetics and ethics revolve round this question. For those living under political tyrannies, art has frequently been a form of hidden resistance, and tyrants habitually look for ways to control art. All this, however, is in general terms and over a large terrain. Fahrenheit 9/11 is something different. It has succeeded in intervening in a political programme on the programme's own ground.

For this to happen a convergence of factors were needed. The Cannes award and the misjudged attempt to prevent the film being distributed played a significant part in creating the event.
To point this out in no way implies that the film as such doesn't deserve the attention it is receiving. It's simply to remind ourselves that within the realm of the mass media, a breakthrough (a smashing down of the daily wall of lies and half-truths) is bound to be rare. And it is this rarity which has made the film exemplary. It is setting an example to millions - as if they'd been waiting for it.

The film proposes that the White House and Pentagon were taken over in the first year of the millennium by a gang of thugs so that US power should henceforth serve the global interests of the corporations: a stark scenario which is closer to the truth than most nuanced editorials. Yet more important than the scenario is the way the movie speaks out. It demonstrates that - despite all the manipulative power of communications experts, lying presidential speeches and vapid press conferences - a single independent voice, pointing out certain home truths which countless Americans are already discovering for themselves, can break through the conspiracy of silence, the atmosphere of fear and the solitude of feeling politically impotent.

It's a movie that speaks of obstinate faraway desires in a period of disillusion. A movie that tells jokes while the band plays the apocalypse. A movie in which millions of Americans recognise themselves and the precise ways in which they are being cheated. A movie about surprises, mostly bad but some good, being discussed together. Fahrenheit 9/11 reminds the spectator that when courage is shared one can fight against the odds.

In more than a thousand cinemas across the country, Michael Moore becomes with this film a people's tribune. And what do we see? Bush is visibly a political cretin, as ignorant of the world as he is indifferent to it; while the tribune, informed by popular experience, acquires political credibility, not as a politician himself, but as the voice of the anger of a multitude and its will to resist.

There is something else which is astounding. The aim of Fahrenheit 9/11 is to stop Bush fixing the next election as he fixed the last. Its focus is on the totally unjustified war in Iraq. Yet its conclusion is larger than either of these issues. It declares that a political economy which creates colossally increasing wealth surrounded by disastrously increasing poverty, needs - in order to survive - a continual war with some invented foreign enemy to maintain its own internal order and security. It requires ceaseless war.

Thus, 15 years after the fall of communism, a decade after the declared end of history, one of the main theses of Marx's interpretation of history again becomes a debating point and a possible explanation of the catastrophes being lived.

It is always the poor who make the most sacrifices, Fahrenheit 9/11 announces quietly during its last minutes. For how much longer?

There is no future for any civilisation anywhere in the world today which ignores this question. And this is why the film was made and became what it became. It's a film that deeply wants America to survive.

· John Berger is a novelist and critic

John Berger

John Berger, novelist, painter, and art historian, was born in London in 1926. After serving in the British army from 1944 to 1946, he attended the Central School of Art and the Chelsea School of Art in London. He taught drawing from 1948 to 1955, and has continued to paint all of his life. His art has been exhibited at the Wildenstein, Redfern, and Leicester galleries in London. In 1952 Berger began writing for London's New Statesman, and quickly became an influential Marxist art critic.

Since then he has published a number of art books including the famous Ways of Seeing, which was turned into a television series by the BBC. Beginning with his first novel in 1958, Berger has also produced a significant body of fiction, including G. (1972), winner of England's Booker Prize and the James Tait Black Memorial Prize. In collaboration with the Swiss filmmaker Alain Tanner, Berger wrote the screenplay for Jonah Who Will be 25 in the Year 2000 and two other screenplays. He is also the author of four plays.

For the past twenty years Berger has lived in a small village in the French Alps. Fascinated by the traditions and endangered way of life of the mountain people, he has written about them both in his fiction and nonfiction.

visual comm syllabus

視覺傳播
Visual communication
輔仁大學進修部大傳系一年級
Thursday 15:40—17:30
唐維敏
csalbert@mails.fju.edu.tw
viscomm.blogspot.com

目標
1. 此門課為入門進階課程，以介紹視覺傳播的重要引導性概念、並以培養同學大量基礎視覺經驗為主。同學接觸一些理論層次的基本分析架構，建立視覺素養；並且觀看反省自己的視覺經驗。
2. 針對各種東西文化的視覺經驗，建立初步可能/潛在詮釋架構，以幫助未來理論思考與實務技術的發展。
3. 從本課程中，讓同學初步瞭解不同視覺媒體的特性、各個媒體之間的差異：攝影、紀錄片、電影、電視(與MTV)。

課程用書
1. 戴行鉞譯(1998)《藝術欣賞之道》。台北：商務。
2. 張霄亭等譯(2003)《視覺傳播》。台北︰雙葉書廊。
3. 唐維敏譯(1995)。《錄影學》。台北：遠流。

參考用書
1. 唐維敏譯(1999)。《後現代文化導論》。台北：五南。
2. 戴行鉞譯(1996)《視覺藝術鑑賞》，北京：商務。(1993)(*《藝術觀賞之道》，台北：商務。)(*陳志梧譯(1989)《看的方法：繪畫與社會關係七講》，台北：明文書局。)
3. 楊裕富(1999)《創意思境：視傳設計概論與方法》，台北：田園城市。
4. 陳芸芸譯(2004)《視覺文化導論》，台北︰韋伯文化。

評分標準
1.出席率
缺課6小時(含)以上者，一律以零分計。若必須請假，請務必口頭或電子郵件直接向老師報備。

2.小組報告
以視覺傳播各章節為主, ppt方式繳交, 50%為課本內容, 50%為案例補充, 或者提出評論.

繳交時間為期中考週(11月中).

統一繳交後, 將擇期由同學簡單輔助導讀所負責之章節.

3.個人報告

以個人興趣為主，融入課堂觀影經驗。(參考下列研究議題)

報告以Word檔案、網站...等方式繳交，注意必須要有視覺輔助部分。

繳交時間為12月底. csalbert@mails.fju.edu.tw

沒有字數的要求, 但是有品質的考慮.

(參考架構)

a.研究動機

b.研究問題

c. 視覺影像

d. 主要概念

3 期末測驗
考試形式採取現場open book and/or take home考試兩種形式。

考試範圍則主要以視覺傳播課本 , 以及課堂討論議題為主，參考影片和書籍資料為輔，並以「解釋名詞」、「申論分析」型態進行。

-------------------------------------
視覺參考資料 (課堂觀看資料**)
1. Photography (PTS) (VHS) **

2. Picturing the Century: One Hundred Years of Photography from the National Archives (網站)
3. A Man with Movie Camera (Vertov) **
4. Ways of Seeing (BBC, J. Berger) **

5. Lumiere shorts **
6. Lumiere et company **
7. Nanook of the North **
8. 《愚公移山》**/ Four Million People
9. 《中國》
10. 《蘭嶼觀點》 **
11. 《捕光捉影》Vision of Light: the Art of Cinematography **
12. 《在光影中漫舞》 **
13. 月份牌 www.decoorient.com/ 《都市摩登》
14. 《上海摩登》(陳子善)
15. 《戲夢人生》
16. 《王哥柳哥遊台灣》《解放前衛：台灣九○年代前衛藝術家》
17. 《巫山雲雨》 **
18. 《小武》 (賈章柯
19. 電影海報(陳子福)
20. 《跳舞時代》 (viva tonal)
21. Nam June Paik (website, books
22. Orson Welles (Citizen Kane)
23. Joris Ivens (dvd, vcd)
24. Leni Riefenstahl (Triumph of the Will, vhs) **
25. Christopher Doyle (cinematographer)
26. Cahier du Cinema (on HHH, DVD)
27. Sundance Film Festival
28. 夏衍
29. 王朔
30. 李香蘭
31. 阮玲玉
32. 張元
33. 張藝謀
34. 陳凱歌
35. 田壯壯
36. 陳道明
37. 陳澄三
38. 龔弘
39. 費穆 (vhs, books)
40. 李行 (vhs)
41. 成龍 (documentary on his tactics)
42. 陳子善 (SH. anthropologist)
43. 陳子福 (book, poster)
44. 鍾理和 (vhs, book, web?)
45. 劉吶鷗 (book and vhs?)
46. 《我的攝影機不說謊》 (book and film, sixth gen.)
47. 視覺考古：台灣早期攝影 (洪雅倫?)
48. 女性影展、同志影展 (film and book)
49. 民族誌紀錄片胡台麗、李道明 (VHS, academia sinica)
50. 獨立製片︰黃明川(PTS前衛藝術, DVD) **
51. 影像風格Vision of Light: cinematography (VHS, chinese subtitle)
52. (王哥柳哥遊台灣VHS)
53. 視覺與聽覺：台語片/客語片/ MTV/KTV/ 54. 視覺歷史：《舊影重溫》(VHS)《華影電影回顧》 (Book, VCD)
55. 《男生女相》 (stanley kwan, vcd)
56. 《香港電影之父黎民偉》 (dvd-rom) **
57. 《緣起》 (dvd)
58. 《台灣百年人物︰林摶秋》 (PTS dvd) **
59. 《台灣文化協會》 (VHS) **
60. 《跳舞時代》 (DVD)

61. Fahrenheit 911 (DVD)**

62. Their 911 (VCD)**

63. Cinema verite (真實電影)(VHS) **

關鍵概念
visual prevalence
perspective
camera obscura
seeing/seen
signifier/signified
nude/nakedness
fetishism
watch/see/gaze/glance
voyeurism
commodification
visual anthropology
visual literacy
visuality/ sexuality
acoustic/visual aesthetics/geschalt
digital aesthetics montage