学部・大学院区分
Undergraduate / Graduate | | 文学部 | | 時間割コード
Registration Code | | 0123234 | | 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 | | 現代映像理論 | | 科目名 【英語】
Course Title | | Contemporary Film Theory | | コースナンバリングコード
Course Numbering Code | | HUMJG3028E | | 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) | | | この講義では、主として1960年代以降の欧米の映画理論史上の代表的な議論を理解し検討する。 |
| | 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 that have appeared mainly after the 1960s. |
| | 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 contemporary film theories
(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 contemporary intellectual thoughts
1 Introduction
2 Structuralism, Semiotics
3 Post-structuralism
4 Ideology theory
5 Psychoanalysis
6 Rear Window (Hitchcock, 1954)
7 Feminism and gender
8 Late Spring (Banshun, Ozu, 1949)
9 Neo-formalism AND Cognitive theory
10 Cultural studies
11 Modernity
12 New media, transmedia
13 Last Year at Marienbad (L’Année demière à Marienbad, Resnais, 1961)
14 Deleuze
15 Conclusion and eveluation |
| | 履修条件・関連する科目
Course Prerequisites and Related Courses | | | No requirement to take another course. |
| | 成績評価の方法と基準
Course Evaluation Method and Criteria | | 30% Participation and contribution to class discussion (including presentation)
30% Quiz
40% Term exam |
| | 教科書・テキスト
Textbook | | Althusser, Louis (1971) “Ideology and Ideological State Apparatuses,” in Lenin and Philosophy and Other Essays, trans. Ben Brewster. New York and London: Monthly Review Press/ Lénine et la Philosophie. Paris: F. Maspero, 1969.
Barthes, Roland (1985) The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. Richard Howard. Berkeley: University of California Press
Baudry, Jean-Lois (1970) “Ideological Effects of the Basic Cinematographic Apparatus,” trans. Alan Williams. In A Film Reader: Narrative, Apparatus, Ideology, ed. Philip Rosen. Bloomington: Indiana University Press, 1981.
Bordwell, David (1988) Ozu and the Poetics of Cinema. Princeton: Princeton University Press.
de Saussure (1966) Course in General Linguistics, ed. Charles Baly and Albert Sechehaye, trans. Wade Baskin. New York: McGraw-Hill/ Cours de linguistique générale. Paris: Payot, 1922.
Deleuze, Gilles (1986) Cinema 1: The Movement-Image, trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota Press.
Deleuze, Gilles (1989) Cinema 2: The Time-Image, trans. Hugh Tomlinson and Robert Galeta. Minneapolis: University of Minnesota Press.
Hall, Stuart (1982) “The Rediscovery of ‘Ideology’: Return of the Repressed in Media Studies.” In Culture, Society and the Media, eds. Michael Gurevitch, Tony Bennett, James Curran and Janet Woollacott. London and New York: Routledge.
Hansen, Miriam (1993) “Early Cinema, Late Cinema: Transformation of the Public Sphere.” Screen 34.3 (Autumn). Reprinted in Ways of Seeing: Ways of Seeing Film, ed. Linda Williams. New Brunswick, N.J.: Rutgers University Press, 1994.
Hansen, Miriam (2000) “Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film As Vernacular Modernism.” Film Quarterly vol. 54, issue 1 (2000): 10-22.
Metz, Christian (1974) Film Language: A Semiotics of the Cinema, trans. 14-26Michael Taylor. Chicago: University of Chicago Press
Metz, Christian (1982) The Imaginary Signifier: Psychoanalysis and the Cinema, trans. Celia Britton et al. Bloomington: Indiana University Press
Manovich, Lev (2001) The Language of New Media. Cambridge: MIT Press.
Mulvey, Laura (1975) “Visual Pleasure and Narrative Cinema.” In Laura Mulve. Visual and Other Pleasures. Bloomington: Indiana University Press, 1989. |
| | 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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