影像民族誌 Visual Ethnography

影像民族誌」這一課程探討使用電影、照片與新媒體的民族誌。本課程是修習「影像民族誌製作」的必備先修課。課程議題涵括：學習如何批判性的「閱讀」視覺媒體、民族誌電影史、原住民媒體、影像倫理、新媒體與相關社會學理論。

This course will explore the ethnographic use of film, photography, and new media. It is a required course for those students who wish to take the ethnographic film production course. Topics covered in this course will include: learning how to critically “read” visual media, the history of ethnographic film, indigenous media, image ethics, new media, and relevant social theories.

課堂大綱 Course Outline (104學年上學期)

  1. Course Overview
    • Introduce syllabus, topic, & expectations for student work.
  2. Narrative
    • Chapter 4 - Pramaggiore, Maria and Tom Wallis. 2008. Film: A critical introduction. Boston:Pearson. (Pramaggiore & Wallis)
    • [Film] When Harry Met Sally/當哈利碰上莎莉 (96)
    • [Film] Boys Don’t Cry/男孩別哭 (118)
  3. Mise en Scene
    • Chapter 5 - Pramaggiore & Wallis
    • [Film] Citizen Kane/大國民 (119)
    • [Film] Goodfellas/盜亦有道 (145)
  4. Editing
    • Chapter 7 - Pramaggiore & Wallis
    • [Film] Breathless/斷了氣 (87)
    • [Film] The Cutting Edge/电影剪接的魔力 (139)
    • [in class] Battleship Potemkin/波坦金戰艦 (clips)
  5. Indigenous Narrative Film I
    • Huhndorf, Shari. “Atanarjuat, the Fast Runner: Culture, History, and Politics in Inuit Media.” American Anthropologist 105, no. 4 (2003): 822-26.
    • [in class] The Fast Runner/冰原快跑人 (172)
  6. Filming “Women” (Guest Lecture 王君琦)
    • Chapter 3 - 柏格 Berger, J. (2005). 觀看的方式 ways of seeing (吳莉君, Trans.). (初版 ed.). 台北市: 麥田出版 : 家庭傳媒城邦分公司發行.
    • Chapter 3 - 默茨 Metz, M., 德勒茲, & 吳瓊 (2005). 想像的能指 the imaginary signifier. In 凝視的快感: 電影文本的精神分析 (第1版 ed.). 北京: 中國人民大學出版社出版發行 : 新華經銷.
    • Mulvey, L. (n.d.). 視覺快感與敘事電影: Visual pleasure and narrative cinema. 電影欣賞. 雙月刊, 42, 21-23.
    • [Film] Rear Window/後窗 (112)
    • [Film] Red Road/紅路 (113)
  7. Filming “Natives”
    • Kilpatrick, Jacquelyn. 2003. “Native Americans.” In The Columbia Companion to American History on Film: How the Movies Have Portrayed the American Past. Edited by Peter C. Rollins. p. 277-87. New York: Columbia University Press.
    • Sterk, Darryl. 2014. “Ironic Indigenous Primitivism: Taiwan’s First ‘native Feature’ in an Era of Ethnic Tourism.” Journal of Chinese Cinemas 8, no. 3: 209–25.
    • Chapter 3 - Turner - in 金斯伯, Lughod, L. A., Larkin, B., 國立編譯館, & 楊雅婷 (2008). 媒體世界: 人類學的新領域 media worlds: Anthropology on new terrain (初版 ed.). 臺北市: 巨流, 編譯館.
    • [Film] Reel Injun/英雄本色 (51)
    • [Film] Finding Sayon/《不一樣的月光》(93)
    • [Film] Marangmotxingmo Mirang/伊邦小孩的影像信 (35)
    • [in class] Video in the Villages Presents Itself/村落影像秀自己 (33)
  8. Filming “Truth”
    • (selections) Morris, E. (2011). Believing is seeing : Observations on the mysteries of photography. New York: Penguin Press.
    • (selections) Hammersley, M. & Atkinson, P. (2007). What is ethnography? In Ethnography : Principles in practice. London ; New York: Routledge.
    • [Film] Roshomon/羅生門 (88)
    • [Film] Thin Blue Line/正義難伸 (103)
  9. Midterm Presentations
  10. 台灣國際民族誌影展
  11. Image ethics
    • Chapter 1 - Nichols, Bill. 2007. 紀錄片導論. Translated by 陳犀禾, 劉宇清, and 鄭潔. 北京: 中國電影出版社. (Nichols)
    • Ruby, J. (1991). Speaking for, speaking about, speaking with, or speaking alongside - an anthropological and documentary dilemma.
    • Peterson, Nicolas. 2003. “The Changing Photographic Contract.” In Photography’s Other Histories, edited by Nicholas Thomas, Jo-Anne Driessens, Michael Aird, Christopher Pinney, and Nicolas Peterson, 119–45. Durham, NC: Duke University Press.
    • [Film]”Cannibal Tours/食人之旅 (70)
    • [Film] Chronique d’un été/夏日編年紀事 (85)
  12. Ethnographic Film
    • Chapter 1 & 2 - Loizos, P. (1993). Innovation in ethnographic film : From innocence to self-consciousness, 1955-85. Manchester: Manchester University Press.
    • [Film] Nanook of the North/北方的南努克 (79)
    • [Film] A Far Country/喀拉哈里家族：遙遠的家園 (90)
    • [in class] A Joking Relationship/愛，開玩笑 (13)
    • [in class] The Ax Fight/斧戰 (clips)
  13. Poetic Mode/Expository Mode
    • Chapter 2 & 6 - Nichols, Bill. 2007. 紀錄片導論. Translated by 陳犀禾, 劉宇清, and 鄭潔. 北京: 中國電影出版社. (Nichols)
    • [Film] Dead Birds/死鳥 (84)
    • [Film] End of the Road/喀拉哈里家族：道路盡頭 (60)
    • [In class] Man w/ Movie Camera/持攝影機的人 (clips)
    • [In class] Koyannisqatsi/機械生活 (clips)
  14. Observational Mode
    • Chapter 4 & 13 - 馬杜格 MacDougall, D. (2006). 邁向跨文化電影 transcultural cinema (初版 ed.).
    • [Film] Lorang’s Way/洛倫的故事 (70)
    • [Film] Yellow Box/黃屋手記 (53)
    • [in class] Umbrella/傘 (20min clip)
  15. Participatory Mode
    • Friedman, P Kerim. “Collaboration against Ethnography: Filming an Unwanted ‘cultural Heritage.” Critique of Anthropology 33, no. 4 (2013): 390–411.
    • Chiu, K. (2007). The vision of Taiwan new documentary. In D. W. Davis (Ed.), Cinema Taiwan: Politics, popularity and state of the arts. Taylor & Francis.
    • [Film] Please Don’t Beat Me, Sir!/請別打我，長官！ (75)
    • [Film] Voices of Orchid Island/蘭嶼觀點 (73)
    • [Film] Petit-a-Petit/積少成多 (96)
  16. Reflexive & Performatory Modes
    • DeBouzek, J. (1989). The ‘ethnographic surrealism’ of Jean Rouch. Visual Anthropology 2: 265-300.
    • Jørgensen, A. M. (2007). Filmmaking as ethnographic dialogues: Rouch’s family of “scoundrels” in niger. Visual Anthropology, 20(1), 57-73.
    • Ruby, J. (1980). Exposing yourself: Reflexivity, anthropology and film. Language and Linguistics Compass.
    • [Film] Night & Fog/夜與霧 (32)
    • [Film] Super Size Me/麥胖報告 (98)
  17. Final Presentations
  18. Final Presentations

課堂大綱XLS檔案(下載PDF版本)

Course Info

Time and Location 時間與地點

  • 時間：星期三, 6:10pm-9:00pm
  • 地點：原A206

Requirements and Credits

  • 授課時數: 3
  • 開課班級: 碩士班

Instructor 授師

  • 傅可恩 P. Kerim Friedman
  • Facebook: kerim.friedman / Telegram: @kerimfriedman / Twitter: @kerim
  • 電子郵件: fulaoshi@oxus.net
  • 辦公室: 原A404
  • 會談時間: 每週三下午12點至2點或與教師另行約定
  • 個人網頁：http://kerim.oxus.net/

教學方法

This is a seminar style class. Students are all expected to do the weekly readings every week. In addition, there will be in-class presentations on the readings which will be assigned each week. The exact number of presentations required will depend on class enrollment. Because the readings require a knowledge of films as well as texts, there will also be two to three films assigned each week. Students are encouraged to schedule a time to watch these films together, but it is not required and a copy of the films will be left in the office for those students who wish to borrow them for home viewing. Watching these films is not optional as each week’s readings are paired to the films assigned for that week and viewing them is necessary in order to follow the discussion. The assignments will be in the form of two “visual essays” with the details of what is required to be handed out during the second week of class. A short visual essay on an individual scene will be presented in class during midterms, and a longer visual essay on a documentary film or director will be presented during the last two weeks of class.

評分標準

  • Class Participation 15%
  • Weekly presentations 25%
  • Midterm visual essay: 30%
  • Final visual essay: 40%

問題

如果有疑問，就發問！我有固定的辦公時間還有整班的電郵清單，同學們也有我們私人電郵。沒有藉口可以假裝不知道你被期待的課業要求。

This document is by Kerim Friedman and is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 3.0 Taiwan License 姓名標示-非商業性-相同方式分享 3.0 台灣.