■ 課程目標及內涵 (Course Objectives and Contents)
經由接觸多元跨域的相關藝術作品分析以及配合數位靜/動態影像之創作訓練與思辨，期望啟發學生創作的深度與廣度。本創作課程成果：期中與期末各發表一件影像創作計劃。第一學期的單元議題藝術作品分析將集中討論以影像媒材本質為中心的作品，例如牽涉到機具、時間性、空間性、影像裝置的藝術家作品。第二學期課程會更進階地討論藝術作品中的跨域議題，例如性別、敘事、檔案等等。■ Course Objectives and Contents
Through the analysis of the relevant art works that are exposed to multiple cross -domains and the creative training and speculation with the creation of digital static/dynamic images, it is expected to inspire the depth and breadth of students' creation. The results of this creation course: A video creation plan was published in the mid -term and the end of the period. The analysis of the first semester of the artistic work of the unit topics will focus on discussing works centered on the essence of imaging media, such as artist works involving machinery, time, spatiality, and imaging installations. The second semester courses will further discuss cross -domain issues in art works, such as gender, narrative, archives, and so on.
此課程將透過不同影像創作技巧之探討，配合實驗電影、攝影思潮文本之閱讀與討論，訓練學生創意思考與視覺表達的能力，並加強對生活環境與社會議題之敏銳度。
This course will be discussed through different image creation skills, cooperate with the reading and discussion of experimental movies and photography, and the ability to train students' creative thinking and visual expression, and strengthen the keenness of the living environment and social issues.
(ㄧ)專書
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
(ㄧ) Special book
1. Roland Barthres, translated by Xu Qiling, "Mingshi · Photography Notes", Taipei: Taiwan Photography, 1997
2. Susan Sontag, translated by Huang Chanran, "On Photography", Taipei: Mai Field, 2010
3. Maurice Merleau-PONTY, translated by Gong Zhuojun, "The Last Write of the Body Master Master Merlongti: Eyes and Hearts", Taipei: Collection Art Family, 2007
4. Chen Yongxian, "Records of Recording Art Revelation", 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. (Reakting Books, 2006)
7. Elwes, Installance and the Moving Image, Location No. 2637, [Kindle Version].
(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 |
10 | 平時出席＋上課態度 |
| 期中作品期中作品 Periodical work |
40 | 期中作品＋期中個人報告＋共評參與 |
| 期末作品期末作品 Final work |
50 | 期末作品成果發表＋期末個人報告＋共評參與，無故缺課1/3扣考 |
