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科目代碼	AHM0143	課程名稱	繪畫與電影專題研究：畫布與銀幕之間
英文名稱	Painting and Film: between the Canvas and the Movie Screen
全/半年	半	必/選修	選修
學分數	3.0	每週授課時數	正課時數: 3.0 小時, 實驗時數: 0.0 小時
先修課程
課程簡介	Painting has been for a long time the privileged medium for transcribing reality and inventing fictions, but the inventions of the Frères Lumière and Thomas Edison in 1895 opened new perspectives. This course attempts to show the different relationships between painting and cinema from their fundamental difference to their intimate similitude. As the filiation between the painter Pierre-Auguste Renoir and his son the filmmaker illustrates, we do not find in the movies of Jean Renoir an imitation of the art of painting, but similarities and echoes. I. Several points of views will be proposed. First, there is a need to outline the new theoretical interest for cinema in art history. We notice that an increasing numbers of studies are now dedicated to film and art. It forces us to reconsider both mediums under a new light. For example it is now impossible not to take into account the works of Impressionism and their quest of instantaneity and movement without the context of the experimentations of Marey and Muybridge. The principles of series which appear for example in Degas’ Dancers and Nudes, and especially in Monet’s Railway Stations, Poplars, Cathedrals and Ricks are connected with the cinematic experimentations of that time, too. II. Secondly, it is helpful to consider cinema under the heritage of painting, which constructed the western imaginary during several centuries. In this respect it appears that the multiple references with painting made in film seem to legitimate the respectability of cinema. In quoting such a prestigious medium as painting, directors want to demonstrate their legitimacy as authors: thus their movies cannot be considered only as a means of entertainment. This strategy appears with the films of the generation of Fritz Lang and Alfred Hitchcock and we will see how to analyze this heritage perpetuated in the 60’s by Michelangelo Antonioni and the French Nouvelle Vague or today by Peter Greenaway and David Lynch. III. Finally it will be fruitful to assess the importance of films in the art of the 20th and 21st centuries. From the beginning cinema has been the vector of a new aesthetic, which has deeply impressed the artists. We can follow the influence of the first westerns and gangster movies (respectively Porter’s The Great Train Robbery, 1903; Louis Feuillade’sFantômas, 1913) on Dada and the Surrealists for example. The popular imagery of actors and films nourished Pop Art in the USA and its European counterpart during the 60’s, while contemporary artists such as Cindy Sherman, Jeff Wall, Stan Douglas or Pierre Huyghe are still evoking and interrogating film imagery through their works.
課程目標		對應系所核心能力
1.　To impart a critical approach on the relationships between painting and cinema		碩士: 　1-2 知識/認知：具備藝術史專題研究的能力。
2.　To consider cinema under the pictorial heritage, and conversely to assess the impact cinema has had on the art of the 20th and 21st centuries		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。
3.　To cultivate student’s abilities to understand the relationships between different artistic mediums		碩士: 　3-1 個人特質: 具備審美能力與人文關懷。
4.　To shape student’s abilities to question and solve issues related to the topic. To encourage their critical thinking		碩士: 　3-2 個人特質: 具備獨立思考與批判反省的能力。
5.　To train students to study, and analyze primary and secondary sources, comment the literature related to the relationships between cinema and painting		碩士: 　1-1 知識/認知:具備作品分析與文獻資料蒐集的能力