学部・大学院区分
Undergraduate / Graduate | | 人文・博前 | | 時間割コード
Registration Code | | 2021706 | | 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 | | 映像学への新視点研究 | | 科目名 【英語】
Course Title | | New Perspectives on Cinema Studies | | コースナンバリングコード
Course Numbering Code | | HUMCS5106E | | 担当教員 【日本語】
Instructor | | 馬 然 ○ | | 担当教員 【英語】
Instructor | | MA Ran ○ | | 開講期・開講時間帯
Term / Day / Period | | 春 木曜日 ３時限
Spring Thu 3 | | 隔年開講
Biennial class | | | | 単位数
Credits | | 2 | | 対象学年
Year | | | undergraduate year 3 and above |
| | 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 | | | Film Festival Studies and Moving-Image Curation |
| |
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 advanced course (for upper-level undergraduate and postgraduate students) is themed "Film Festival Studies and Moving-Image Curation". [it will be partially co-taught with Dr. Wen Hao]
It is one of its kind among English-taught programs in Japan and Asia in critically examining the historical contexts, analytical frameworks, and methods in the transdisciplinary field of film festival studies, emphatically leveraging what Chen Kuan-hsing has advocated as “Asia as Method.”
Divided into three blocks that closely look at a wide spectrum of case studies of film festivals and curatorial practices in Asia and beyond, this course seeks to address a broader question: whether—and how—the politics of (international) film festivals can be meaningfully articulated within a deeply hierarchical global festival landscape and a heterogeneous mediatic circulatory ecology. By first familiarizing ourselves with, and then shifting our attention away from, Eurocentric paradigms and the dominance of the so-called “Big Three” festivals (e.g. Cannes, Berlin, and Venice), the course pushes students to better recognize and grasp global festivals’—and their worlds’—socio-cultural, political, and infrastructural configurations.
Our critical reorientation is not limited to questioning Eurocentrism alone, but also extends to examining the capitalist operations of film festivals and exhibition circuits, particularly as they are entangled with film distribution, circulation, and exhibition.
While developing critical insights into these institutional and economic operations, the course aims to cultivate an approach to critical film festival studies that does not train students to become self-effacing agents within existing systems. Instead, it encourages them to develop their own ways of approaching, evaluating, and historicizing the history and future of cinema in tandem with moving-image culture (e.g. artist cinema), thereby envisioning themselves as maverick curatorial and programming talents capable of intervening in—rather than merely reproducing—established festival logics, and of rethinking how film festivals and exhibitions might function as platforms, vehicles, and grounds for reshaping how we engage with this broken disorienting world. |
| | 到達目標 【日本語】
Objectives of the Course(JPN) | | | | 授業の内容や構成
Course Content / Plan | | SCHEDULE OF CLASSES (tentative)
Week 1 Introduction (first meeting of the course; good time for your course-shopping)
Block A: Film Festivals: Toward Multiplying Histories
Week 2 Beyond the European Origin: Revisiting Cannes, Venice, Berlin and More
Week 3 Beyond the Cold War: Asian Film Festivals and Film Weeks in Plurality
(BYOD Seminar)
Week 4 Beyond Globalization: Curating the Regional, the National, and the Local (BYOD Seminar)
Week 5 Filmless Festival: Independent Cinema and Film Festivals in China
Week 6 Guest Talk
Tentative Title: Sino-Japanese Queer Film Festival Connections (TBD)
Block B: Theories and Methods
Week 7 Rethinking Network, Circuit, and System with Film Festival Studies
Week 8 Debating the Public Sphere/Space (BYOD Seminar)
Week 9 In-Between the Black Box and White Cube: Exhibiting Cinema in Contemporary Art (BYOD Seminar)
Week 10 Guest Talk (TBD)
Tentative Title: Exhibiting Art and Images in a Declining Day-Laborer District
BLOCK C: The Politics of Global Film Festivals
Week 11 De-colonialization and Inter-Asia Referencing I (BYOD Seminar)
Week 12 De-colonialization and Inter-Asia Referencing: II (BYOD Seminar+Guest Talk)
Tentative Title: Getting Films Funded and Seen: Inside the Film Festival Market
Week 13 Curating Film Festivals in the Post-Pandemic Time: Digital Futures?
Week 14 Guest Forum (young-generation curators from Southeast & East Asian contexts)
Tentative Title: A Dialogue on Curating and Exhibiting Experimental Cinemas in Asia and Beyond
Week 15 Forum: Curatorial Group Work Presentations
Note: we will mostly use one of the make-up sessions for fieldwork. WILL BE FUN! |
| | 履修条件・関連する科目
Course Prerequisites and Related Courses | | | undergraduate year 3 and above; confident user of English language in speaking, writing, and reading. |
| | 成績評価の方法と基準
Course Evaluation Method and Criteria | | 45% Attendance & Contribution to class discussions (esp BYOD sessions) + Perusall Reading Track is part of your “discussion+contribution”
20 % Group Curatorial Project + Project-based Final Presentation (TBA)
15% Guest Event Report (creative formats such as Poster Collage or Podcast encouraged; Guidance TBA)
20% Final Project (two tracks; TBA) |
| | 教科書・テキスト
Textbook | | | Will be a compilations of readings and references (digitally distributed). |
| | 参考書
Reference Book | | | Will be a compilations of readings and references (digitally distributed). |
| | 課外学習等（授業時間外学習の指示）
Study Load(Self-directed Learning Outside Course Hours) | | | fieldwork to film/moving-image events and homework viewing of important works. |
| | 履修取り下げ制度（利用の有無）学部のみ
Course withdrawal | | | | 備考
Others | | Notes on Plagiarism
A writer who presents the ideas, words, or creations of another as if they were the writer’s own (that is, without proper citation) commits plagiarism. This applies to both human-created and AI-generated content. Plagiarism is not tolerable in this course or at Nagoya University. You must provide proper references for any ideas, quotations, figures, images, or media clips you use in your paper, including content produced by generative AI tools. Failure to cite such sources will risk being charged with plagiarism.
In addition, anything that has been substantially mediated by AI — for example, comments you post on Perusall, or assignments translated, rewritten, or edited by AI (beyond light grammar correction) — must be explicitly marked as such. Transparency is required in order to distinguish your own intellectual work from AI assistance. |
| | 授業開講形態等
Lecture format, etc. | | | |
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