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 practice course: the course contains the teaching of gradual and quiet/dynamic image shooting, post -image post -production and video editing, cultivating the actual operation ability of dynamic image projection devices, supplemented by related stage static/dynamic image works, hoping to inspire students to create creation Fore a forward -looking performance art dynamic stage image design. The results of this creation course: In the group, two dynamic image stage design is published. This course focuses on guiding students to understand the time nature of dynamic images itself and the penetration of large projection images, with the physical dynamic rhythm and rhythm of performers, rubbing sound design in the image and the scheduling considerations of the theater field, and is committed to reaching the stage Background image design and the overall interactive fusion of the front desk 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 practice course: the course contains the teaching of gradual and quiet/dynamic image shooting, post -image post -production and video editing, cultivating the actual operation ability of dynamic image projection devices, supplemented by related stage static/dynamic image works, hoping to inspire students to create creation Fore a forward -looking performance art dynamic stage image design. The results of this creation course: In the group, two dynamic image stage design is published. This course focuses on guiding students to understand the time nature of dynamic images itself and the penetration of large projection images, with the physical dynamic rhythm and rhythm of performers, rubbing sound design in the image and the scheduling considerations of the theater field, and is committed to reaching the stage Background image design and the overall interactive fusion of the front desk performance.
1.A. L. Rees (Author), David Curtis (Editor), Duncan White (Editor), Steven Ball (Editor), Expanded Cinema: Art, Performance, Film, 2011, Tate, UK
2. Christopher Eamon (Author), Mieke Bal (Author), Beatriz Colomina (Author), Stan Douglas (Artist), Art of Projection, 2009, Hatje Cantz
（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.A. L. Rees (Author), David Curtis (Editor), Duncan White (Editor), Steven Ball (Editor), Expanded Cinema: Art, Performance, Film, 2011, Tate, Uk
2. Christopher Eamon (Author), Mieke Bal (Author), Beatriz Colomina (Author), Stan Douglas (Artist), Art of Projection, 2009, Hatje Cantz
(2) Journal papers and interviews
1. Artistic Perspective Act
2. Sun Songrong, "Art Museum and Movie:" Contemporary "from investment to display", "Today Art", No. 188, May issue. Page 170-174
3. Sarah S. Jain, ‘The PRosthetic Imagination: ENABLING and DISABLING The PROSTHESIS TROPE.’ Science, Technolog & Human Values 24.1 (1999)
4. Christine Buci-Glucksmann & Emanuele Quinz, ‘for An Esthetics of the Ephemeral’, Hybrid, January 2014
(3) Online database
1. Taiwan Contemporary Art Database
2. 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 | |
| 期中發表期中發表 Published during the period |
40 | |
| 期末發表期末發表 At the end of the period |
40 |
