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