本課程屬於創作實踐課程：課程包含漸進式靜/動態影像拍攝教學，影像後製與影片剪輯，培養動態影像投影裝置實際操作能力，輔以相關舞台靜/動態影像作品的研討，期望啟發學生創造出具前瞻性的表演藝術動態舞台影像設計。本創作課程成果：以小組為單位，發表兩件動態影像舞台設計。本課程聚焦於引導學生深入了解動態影像本身的時間性與大型投影影像滲透力，搭配表演者的體能動態節奏與韻律，在影像中揉合聲音設計以及劇場場域的調度考量，致力於達成舞台背景影像設計與前台表演的整體互動融合度。This course belongs to the creative preview course: the course includes advanced static/motional image shooting teaching, post-production and video editing, cultivating the actual operation ability of dynamic image projection devices, and conducting research on related stage static/motional image works. It is expected to initiate students to create forward-looking performance art dynamic stage image design. The results of this creative course: Two dynamic video stage designs are published based on a small group. This course focuses on guiding students to deeply understand the timeliness and penetration of large-scale projection images, and combines the performance of the performer's physical energy dynamic rhythm and rhythm, blends the sound design and the performance field concentration in the image, and strives to achieve the overall interaction fusion between stage background image design and front-end performance.
本課程屬於創作實踐課程：課程包含漸進式靜/動態影像拍攝教學，影像後製與影片剪輯，培養動態影像投影裝置實際操作能力，輔以相關舞台靜/動態影像作品的研討，期望啟發學生創造出具前瞻性的表演藝術動態舞台影像設計。本創作課程成果：以小組為單位，發表兩件動態影像舞台設計。本課程聚焦於引導學生深入了解動態影像本身的時間性與大型投影影像滲透力，搭配表演者的體能動態節奏與韻律，在影像中揉合聲音設計以及劇場場域的調度考量，致力於達成舞台背景影像設計與前台表演的整體互動融合度。
This course belongs to the creative preview course: the course includes advanced static/motional image shooting teaching, post-production and video editing, cultivating the actual operation ability of dynamic image projection devices, and conducting research on related stage static/motional image works. It is expected to initiate students to create forward-looking performance art dynamic stage image design. The results of this creative course: Two dynamic video stage designs are published based on a small group. This course focuses on guiding students to deeply understand the timeliness and penetration of large-scale projection images, and combines the performance of the performer's physical energy dynamic rhythm and rhythm, blends the sound design and the performance field concentration in the image, and strives to achieve the overall interaction fusion between stage background image design and front-end performance.
1. Roland Barthres著，許綺玲譯，《明室‧攝影札記》，台北：台灣攝影，1997
2. Susan Sontag著，黃燦然譯，《論攝影》，台北：麥田，2010
3. Maurice Merleau-Ponty著，龔卓軍譯，《身體現象學大師梅洛龐蒂的最後書寫：眼與心》，台北：典藏藝術家庭，2007
4.陳永賢著，《錄像藝術啟示錄》，台北：藝術家，2010
5. Celia Lury, Prosthetic Culture: Photography, Memory and Identity, (New York: Routledge 1997)
6. Laura Mulvey Death 24x a second: stillness and the moving image. (Reaktion books,2006)
7. Elwes, Installation and the Moving Image, Location No. 2637, [Kindle version].
（二）期刊論文與訪談
1.藝術觀點ACT
2.孫松榮, 〈美術館與電影：從投映到展示的「當代性」〉，《今藝術》，第188期，5月號。頁170-174
3. Sarah S. Jain, ‘The prosthetic imagination: Enabling and disabling the prosthesis trope.’ Science, Technology & Human Values 24.1 (1999)
4. Christine Buci-Glucksmann & Emanuele Quinz, ‘For an Esthetics of the Ephemeral’, Hybrid, January 2014
（三）線上資料庫
1. 台灣當代藝術資料庫
2. 英國Lux, Artists’ Moving Image
1. Written by Roland Barthres, translated by Xu Ling, "Ming Room‧Photography Notes", Taipei: Taiwan Photography, 1997
2. by Susan Sontag, Huang Yanan, "On Photography", Taipei: Maitian, 2010
3. Maurice Merleau-Ponty, translated by Wang Zhuo, "The Last Book of Body Diagram Master Merleau-Loudy: Eyes and Heart", Taipei: Collection Art Family, 2007
4. Chen Yongqin, "Revelation of Recording Art", Taipei: Artist, 2010
5. Celia Lury, Prosthetic Culture: Photography, Memory and Identity, (New York: Routledge 1997)
6. Laura Mulvey Death 24x a second: stillness and the moving image. (Reaktion books,2006)
7. Elwes, Installation and the Moving Image, Location No. 2637, [Kindle version].
(II) Journal articles and interviews
1. Art Viewpoint ACT
2. Sun Songrong, "Art Museum and Film: "Contemporary Sex" from Projection to Display", "Current Art", No. 188, May. Page 170-174
3. Sarah S. Jain, ‘The prosthetic imagination: Enabling and disabling the prosthesis trope.’ Science, Technology & Human Values 24.1 (1999)
4. Christine Buci-Glucksmann & Emanuele Quinz, ‘For an Esthetics of the Ephemeral’, Hybrid, January 2014
(III) Online Database
1. Taiwan Contemporary Art Database
2. British Lux, Artists’ Moving Image
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 出席率出席率 Attendance rate |
20 | |
| 期中分組發表期中分組發表 Mid-term division release |
40 | |
| 期末分組發表期末分組發表 Final division release |
40 |
