学部・大学院区分
Undergraduate / Graduate | | 文学部 | | 時間割コード
Registration Code | | 0123233 | | 科目区分
Course Category | | 専門科目
Specialized Courses | | カリキュラム年度
Curriculum | | | | 教育プログラム・分野・専門等
Major | | | | 科目名 【日本語】
Course Title | | 古典映像理論 | | 科目名 【英語】
Course Title | | Classical film theory | | コースナンバリングコード
Course Numbering Code | | HUMJG3027E | | 担当教員 【日本語】
Instructor | | 藤木 秀朗 ○ | | 担当教員 【英語】
Instructor | | FUJIKI Hideaki ○ | | 開講期・開講時間帯
Term / Day / Period | | 春 水曜日 ５時限
春 水曜日 ６時限
Spring Wed 5
Spring Wed 6 | | 隔年開講
Biennial class | | | | 単位数
Credits | | 2 | | 対象学年
Year | | | | 他学部生の受講の可否
Propriety of Other department student's attendance | | | | 授業形態
Course style | | 講義
Lecture | | 教職【入学年度】
Teacher's License | | | | 教職【教科】
Teacher's License | | | | 学芸員資格（該当の有無）
Curator's Qualifications | | | | 講義題目
Title | | | |
授業の目的 【日本語】
Goals of the Course(JPN) | | | | 授業の目的 【英語】
Goals of the Course | | | This class examines important conceptions and debates in the history of Western film theories mainly from the 1910s through the 1950s. |
| | 到達目標 【日本語】
Objectives of the Course(JPN) | | | The class's objectives are that students develop (1) to grasp a basic history of film theory, (2) to nurture their critical view on cinema and other types of media, and (3) to develop their knowledge and thoughts on a wider range of socio-cultural theories and their histories. |
| | 授業の内容や構成
Course Content / Plan | | More specific goals are:
(1) to understand a basic history of film theory
(2) to nurture a critical and analytical view on visual media, particularly cinema
(3) to to develop each student's knowledge and questions with a wide scope of modern intellectual thoughts
1 Introduction
2 Hugo Münsterberg and Rudolph Arnheim
3 Strike (1925)
3 Sergei Eisenstein and Soviet Montage I
4 Ivan the Terrible Part I (1944)
5 Sergei Eisenstein and Soviet Montage II
6 Waler Benjamin
7 Theodor Adorno
8 German Year Zero (1948)
9 André Bazin I
10 André Bazin II
11 The Cabinet of Dr. Caligari (1919)
12 Siegfried Kracauer
13 The Passion of Joan of Arc (1928)
14 Balázs Béla
15 Conclusion |
| | 履修条件・関連する科目
Course Prerequisites and Related Courses | | | | 成績評価の方法と基準
Course Evaluation Method and Criteria | | 10% Participation and active involvement
20% Presentationinvovement
20% Quiz
50% Final exam
To pass, students must earn 60 points in total. |
| | 教科書・テキスト
Textbook | | Arnheim, Rudolf. Film as Art. Berkeley: University of California Press, 1957.
Balázs, Béla. Visible Man or the Culture of Film. In Béla Balázs: Early Film Theory. Ed. Erica Carter. Trans.
Rodney Livingstone. New York: Berghahn Books, 2010.
Bazin, André. “An Aesthetic of Reality.” In What is Cinema? Vol. II. Trans. Hugh Gray. Berkeley: University of
California Press, 1971.
_____. “Cinema and Exploration.” In What is Cinema? Vol. I. Trans. Hugh Gray. Berkeley: University of
California Press, 1967.
_____. “The Evolution of the Language of Cinema.” In What is Cinema? Vol. I. Trans. Hugh Gray. Berkeley:
University of California Press, 1967.
_____. “The Myth of Total Cinema.” In What is Cinema? Vol. I. Trans. Hugh Gray. Berkeley: University of
California Press, 1967.
_____. “The Ontology of the Photographic Image.” In What is Cinema? Vol. I. Trans. Hugh Gray. Berkeley:
University of California Press, 1967.
_____. “Painting and Cinema.” In What is Cinema? Vol. I. Trans. Hugh Gray. Berkeley: University of
California Press, 1967.
_____. “Theater and Cinema.” In What is Cinema? Vol. I. Trans. Hugh Gray. Berkeley: University of California
Press, 1967.
Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations. Ed. Hannah
Arendt. San Diego: Harcourt, 1968.
Eisenstein, Sergei. “An Unexpected Juncture.” In S. M. Eisenstein Selected Works, vol. 1: Writings, 1922-34. Ed.
and trans. Richard Taylor. London: British Film Institute,1988.
_____. “Beyond the Shot.” In S. M. Eisenstein Selected Works, vol. 1: Writings, 1922-34. Ed. and trans. Richard
Taylor. London: British Film Institute,1988.
_____. “Film Form: New Problems.” In Film Form: Essays in Film Theory. Ed. and trans. Jay Layda. San
Diego: Harcourt, 1949.
_____. “Form and Content.” In The Film Sense. Ed. and trans. Jay Layda. San Diego: Harcourt, 1949.
_____. “The Dramaturgy of Film Form.” In S. M. Eisenstein Selected Works, vol. 1: Writings, 1922-34. Ed. and
trans. Richard Taylor. London: British Film Institute,1988.
_____. “The Montage of Attraction.” In S. M. Eisenstein Selected Works, vol. 1: Writings, 1922-34. Ed. and
trans. Richard Taylor. London: British Film Institute,1988.
Eisenstein, Sergei and Sergei Tretyakov. “Expressive Movement.” In Meyerhold, Eisenstein and Biomechanics:
Actor Training in Revolutionary Russia, ed. Alama Law and Mel Gordon. Jefferson, CA: McFarland & Company, 1996.
Horkheimer, Max and Theodor W. Adorno. “The Culture Industry: Enlightenment as Mass Deception.” In
Dialectic of Enlightenment. Trans. John Cumming. New York: Continuum, 1977
Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of the German Film. Princeton: Princeton
University Press, 1947.
_____. Theory of Film: The Remediation of Physical Reality. Princeton: Princeton University Press,
1960.
Münsterberg, Hugo. The Photoplay: A Psychological Study and Other Writings. New York and London:
Routledge, 2002. |
| | 参考書
Reference Book | | | Hayward, Susan (2017) Cinema Studies: The Key Concepts. Routledge. |
| | 課外学習等（授業時間外学習の指示）
Study Load(Self-directed Learning Outside Course Hours) | | | Students must read the assigned texts in advance to each class so that they can actively participate in the discussion. Moreover, at the beginning of each lecture, a student is required to give a 5-minute presentation followed by 10-minute discussion. S/he does so by answering the question the instructor has given in the last class and then by leading Q&As. All students are required to take this role in rotation. |
| | 履修取り下げ制度（利用の有無）学部のみ
Course withdrawal | | | | 備考
Others | | | | 授業開講形態等
Lecture format, etc. | | | A-1）Face-to-face course（Only face-to-face classes） |
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