| 106學年第1學期課程綱要 |
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| 一、課程基本資料 |
| 開課序號 | 2980 | 課程學制 | |
| 科目代碼 | AHM0158 | 課程名稱 | 拼裝、蒙太奇與阿凡達效應專題研究 |
| 英文名稱 | Special Topics on Assemblage, Montage and Other Avatars | ||
| 全/半年 | 半 | 必/選修 | 選修 |
| 學分數 | 3.0 | 每週授課時數 | 正課時數: 3 小時 |
| 開課系級 | 藝史所（碩） | ||
| 先修課程 | |||
| 課程簡介 | The concept of montage is consubstantial with cinema. But this principle is not limited to this medium. We notice that modernity is principally based on fragmented and cumulative systems. During the 20th century, visual arts, music, literature, and media have been the interpreters of the aesthetics of fragment. avant-garde collages, installations, as well as television and multimedia supports, focus on a heterogeneous dynamic of assembling and disassembling. There is a need to understand the heterogeneity of materials and realities, which are proposed to the audience by these different mediums. The course aims to analyze how the principles of montage occur in the modern way of thinking and creating. It also intends to look back to the origins of these methods, notably in the construction of hybrid realities (such as chimeras, monsters, and grotesques). The organic features of these realisations, which appear in medieval marginalia, in Renaissance decorations, or much more recently in animation movie, need also to be mentioned. I. The first part of the course is broadly based on the methods of assembling, which are used during the first decades of the twentieth century. Besides the poetics of fragment inaugurated by Manet and the Impressionists, there is as well a need to look at the examples developed by the avant-garde (cubism, dada, surrealism). Collages, photomontages, games of consequences etc. illustrate additive methods. In order to understand these principles in a wider context, we will also confront the Dadaist and surrealist collages with the first theories and applications of montage (editing) in film, which appeared at the same time. Furthermore it will be fruitful to draw parallels between these examples and the Mnemosyne Atlas, which Aby Warburg was working on during the years 1929-1934. This new methodological way of thinking through images assembled on panels constitutes a promising model of thinking which needs to be recontextualized. II. In its intrinsic heterogeneity the concept of montage often produces hybrid constructions, not to say “monsters”. The second part of the course focuses on the teratogenic power of creation. It observes how the constructions of monsters and chimeras - which often are assemblies of different realities - have influenced the western imaginary since Antiquity. This fascination with monsters has something to do with the demonstrativeness of images (in latinmonstrum has the same root as monstrare= to show). It is not a coincidence that cinema - as the demonstrative media par excellence - acts as a substitute for these old representations since the 1930s. It will be shown, that the development of monsters movies (e.g. James Whale’s Frankenstein, 1931, Merian C. Cooper / Ernest B. Schoedsack’sKing Kong) is also intimately related with the evolution of the filmic montage. | ||
| 課程目標 | 對應系所核心能力 | ||
| 1. To impart a critical approach on the principles of assemblage and montage. | 碩士: 1-1 知識/認知:具備作品分析與文獻資料蒐集的能力 3-1 個人特質: 具備審美能力與人文關懷。 3-2 個人特質: 具備獨立思考與批判反省的能力。 4-2 價值/倫理: 具備宏觀的國際視野，尊重藝術文化的多元與差異。 |
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| 2. To analyze and understand the origins, and modern development of constructing hybrid realities. | 碩士: 1-2 知識/認知：具備藝術史專題研究的能力。 |
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| 3. To cultivate student’s abilities to understand organic principles of creation based on the principles of assemblage and montage . | 碩士: 2-1 職能導向:具備藝術鑑賞的基礎能力。 4-2 價值/倫理: 具備宏觀的國際視野，尊重藝術文化的多元與差異。 |
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| 4. To shape student’s abilities to question and solve issues related to the topic. To encourage their critical thinking. | 碩士: 2-2 職能導向: 具備應用藝術史專門知?從事相關實務工作(講解、教導、傳播、寫作、編輯等等)的能力。 |
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| 5. To train students to collect, study, and analyze primary and secondary sources, to select and comment the literature. | 碩士: 1-1 知識/認知:具備作品分析與文獻資料蒐集的能力 2-2 職能導向: 具備應用藝術史專門知?從事相關實務工作(講解、教導、傳播、寫作、編輯等等)的能力。 |
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| 二、教學大綱 |
| 授課教師 | 諾斯邦 | ||
| 教學進度與主題 | |||
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Schedule - Weeks 1-2: Montage: Definitions and Illustrations - Week 3: Modernity and the Poetic of Fragment: Manet and the Impressionists - Weeks 4-7: Collages, photomontages: Dada and Surrealist Games - Weeks 8-9: Montage and Film in the 30’s: Theories - Weeks 10-11: Aby Warburg and the Mnemosyne Atlas: Memory as Montage - Weeks 12-13: Montage as Hybrid - Weeks 14-15: Hybrid Constructions: a Short Story of Monsters - Weeks 16-17: Monsters, Movies and Montage, a Coincidence? - Week 18: Conclusion |
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| 教學方法 | |||
| 方式 | 說明 | ||
| 實地考察、參訪 | Study visits are organized when possible and according to the course topic, and depending on the cultural actuality (exhibitions, events etc.) | ||
| 評量方法 | |||
| 方式 | 百分比 | 說明 | |
| 出席 | 20 % | ||
| 報告 | 80 % | Oral Presentation: 30%, Written Paper: 50% | |
| 參考書目 |
Bibliography Remark: Students are given each week a bibliography list related to the issues taught and analyzed in the classroom |
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