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黄小邪:芝加哥,城南影事

 
 
 

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电影课程表:音景与电影城市  

2012-07-25 06:29:00|  分类: 电影 |  标签: |举报 |字号 订阅

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Soundscape and Cinematic City

Description:    This course introduces basic concepts and intricate relations between film sound, cinematic space and sensual perception, via examples from different national cinemas, historical periods, genres (including city symphony, film noir, science fiction, and so forth), and directorial oeuvres. The course will explore essential studies on film sound in film history from silent to sound era, highlighting significant issues such as how the development and transformation of sound technology, sound media and sound aesthetics, how sound practice differs in various national cinemas and time periods, how film sound interact and interpenetrate with urban soundscape. Films discussed include works by Dziga Vertov, F.W. Murnau, Jean-Luc Godard, Michelangelo Antonioni, Edward Yang, Jia Zhangke, among others.

Week 1: Early Cinema, the Senses, and Audiovisual Culture

Screening: Scene from the Elevator Ascending Eiffel Tower (1900) Panorama of Eiffel Tower (1900) Panorama of Paris Exposition, from the Seine (1900) The Ghost Train (1901) Interior New York Subway 14th Street to 42nd Street (1905)

Required Reading:

-          Michel Chion, Audio-vision: Sound on Screen, edited and translated by Claudia Gorbman; with a foreword by Walter Murch. New York: Columbia University Press, 1994.

-          Tom Gunning, “Doing for the eye what the phonograph does for the ear,” in in Richard Abel and Rick Altman, eds. The Sounds of Early Cinema. Bloomington and Indianapolis: Indiana University Press, 2001.

-          Rick Altman, Silent Film Sound. New York: Columbia University Press, 2004. (especially chapter 1. The history of silent film sound; 8. Lectures, sound effects, and the itinerant exhibition mode; 17. Cue sheets and photoplay music)

-          Patrick Keiller, “Urban Space and Early Film,” in Cities in Transition: the Moving Image and the Modern Metropolis. London; New York: Wallflower Press, 2008

Optional:

-          James Donald, “The Immaterial City: Representation, Imagination and Media Technologies,” in A Companion to the City, edited by Gary Bridge and Sophie Watson. Oxford, UK; Malden, MA: Blackwell Publishers, 2000.

-          Ian Christie, “Early Phonograph Culture and Moving Pictures,” in The Sounds of Early Cinema.

-          Juan A. Suárez, “The Art of Noise: The Gramophone, T. S. Eliot's The Waste Land, and the Modernist Discourse Network,” in Pop Modernism: Noise and the Reinvention of the Everyday. Urbana: University of Illinois Press, 2007.

Week 2: Sounding Movement and Machinery in City Symphony Films

Screening:

Manhatta(1921, Charles Sheeler & Pau Strand, 11min) Berlin: Die Sinfonie der Großstadt (1927, Walter Ruttmann, 65min) The Man with the Movie Camera (1929, Dziga Vertov, 68min) À propos de Nice (1930, Jean Vigo, 22min) A Bronx Morning (1931, Jay Leyda, 11min) San Yuan Li (2003, Ou Ning & Cao Fei, 40min)

Required Reading:

-          Juan A. Suárez. “City Space, Technology, Popular Culture: The Modernism of Paul Strand and Charles Sheeler's ‘Manhatta’”. Journal of American Studies. Vol. 36, No. 1 (Apr., 2002), pp. 85-106.

-          Matthew Bernstein. “Visual Style and Spatial Articulations in Berlin, Symphony of a City (1927),” Journal of Film and Video. Vol. 36, No. 4, DOCUMENTARY FILMAKING (Fall 1984), pp.5-12,61.

-          Andrew Webber. “Symphony of a City: Motion Pictures and Still Lives in Weimar Berlin,” in Cities in Transition: the Moving Image and the Modern Metropolis. London; New York: Wallflower Press, 2008

-          Carsten Strathausen, “Uncanny Spaces: The City in Ruttmann and Vertov,” in Screening the City, edited by Mark Shiel and Tony Fitzmaurice. London; New York: Verso, 2003.

Optional:

-          Walter Schobert, "Painting in Time" and "Visual Music": On German Avante-Garde Films of the 1920s; David Macrae, “Ruttmann, Rhythm, and "Reality": A Response to Siegried Kracauer's Interpretation of Berlin. The Symphony of a Great City,” In Expressionist Film: New Perspectives, edited by Dietrich Scheunemann. Rochester, NY: Camden House, 2003.

Week 3: Evocation of Sound in Silent Cinema

Screening: La Glace à trois faces (1927, Jean Epstein, 45min) Sunrise: A Song of Two Humans (1927, F.W. Murnau, 94min) Two Stars in a Milky Way (1931, Luo Mingyou)

Required Reading:

-          William Johnson, “Sound and Image: A Further Hearing,” Film Quarterly, Vol. 43, No. 1 (Autumn, 1989), pp. 24-35

-          Melinda Szaloky, “Sounding Images in Silent Film: Visual Acoustics in Murnau's "Sunrise",” Cinema Journal, Vol. 41, No. 2 (Winter, 2002), pp. 109-131

-          Lucy Fischer, “Silence/Sound,” in Sunrise: A Song of Two Humans. London: BFI Publishing, 1998.

-          Alexander Des Forges. “Synchronized Reading: Installment Aesthetics and the Formation of the Mediasphere,” in Mediasphere Shanghai: the Aesthetics of Cultural Production. Honolulu: University of Hawai'i Press, 2007.

Optional:

-          Stan Link, “Nor the Eye Filled with Seeing: The Sound of Vision in Film,” American Music, Vol. 22, No. 1 (Spring, 2004), pp. 76-90.

Week 4:Cinematic Soundscape in Transition

Screening: M (1931, Fritz Lang, 110min) City Scenes (1935, Yuan Muzhi, 92min)

Required Reading:

- Sarah Cohen, “Sounding out of the City: Music and the Sensuous Production of Space,” in The Spaces of Postmodernity: Readings in Human Geography, editors, Michael J. Dear and Steven Flusty. Oxford, UK; Malden, Mass.: Blackwell Publishers, 2002.

-  Michel Chion, “Mabuse: Magic and Powers of the Acousmetre,” in The Voice in Cinema, edited and translated by Claudia Gorbman. New York: Columbia University Press, 1999.

-  Nodl Carroll, “Lang and Pabst: Paradigms for Early Sound Practice,” in Film Sound: Theory and Practice, edited by Elisabeth Weis and John Belton. New York: Columbia University Press, 1985.

-  Yeh Yueh-yu, “Historiography and Sinification: Music in Chinese Cinema of the 1930s,” Cinema Journal, Vol. 41, No. 3 (Spring, 2002), pp. 78-97.

Optional:

-          Alan Williams, “Historical and Theoretical Issues in the Coming of Recorded Sound to the Cinema,” in Sound Theory/Sound Practice, edited by Rick Altman. New York: Routledge, 1992.

-          Matthew Malsky, “Sounds of the City: Alfred Newman's "Street Scene" and Urban Modernity,” in Lowering the Boom: Critical Studies in Film Sound, edited by Jay Beck and Tony Grajeda. Urbana: University of Illinois Press, 2008.

-          Zhang Zhen, Ch. 8. “Song at Midnight: Acoustic Horror and the Grotesque Face of History,” in An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937. Chicago: University of Chicago Press, 2005.

-          Edward Dimendberg, “From Berlin to Bunker Hill: Urban Space, Late Modernity, and Film Noir in Fritz Lang's M,” in The Spaces of Postmodernity: Readings in Human Geography, editors, Michael J. Dear and Steven Flusty. Oxford, UK; Malden, Mass.: Blackwell Publishers, 2002.

-          Tom Gunning, “M: The City Haunted by Demonic Desire,” The Films of Fritz Lang: Allegories of Vision and Modernity. London: British Film Institute, 2000.

Week 5:Voice-over and Film Noir

Screening: The Naked City (1948, Jules Dassin, 96min) Classe tous risques (1960, Claude Sautet, 105min)

Required Reading:

-          Robert Miklitsch, Siren City: Sound and Source Music in Classic American Noir. New Brunswick, N.J.: Rutgers University Press, c2011.

-          Sarah Kozloff, “Humanizing "The Voice of God": Narration in "The Naked City"”, Cinema Journal, Vol. 23, No. 4 (Summer, 1984), pp. 41-53.

-          Martin, Fradley, “Detour/Siren City: Sound and Source Music in Classical American Noir/Dark Borders: Film Noir and American Citizenship/Film Noir and the Cinema of Paranoia.” Film Quarterly. Summer2012, Vol. 65 Issue 4, p70-73.

-          Richard Ness, “A Lotta Night Music: The Sound of Film Noir.” Cinema Journal. Winter2008, Vol. 47 Issue 2, p52-73.

Optional:

-          Nicholas Christopher. “Night and the City,” in Somewhere in the Night: Film Noir and the American City. New York: Free Press, c1997.

-          James Naremore. Chapter 1. “The History of an Idea. Noir Is Born: Paris, 1946-1959. Darkness Everywhere,” in More than Night: Film Noir in its Contexts. Berkeley: University of California Press, 1998.

Week 6:Mapping the Modernist City, Mediated Metropolis

Screening: Cléo de 5 à 7 (1962, Agnès Varda, 90min) L'eclisse (1962, Michelangelo Antonioni, 126min) Playtime  (1967, Jacques Tati, 24min)

Required Reading:

-          Laurent Marie. 'Jacques Tati's Play Time as New Babylon,' in Cinema and the City: Film and Urban Societies in a Global Context, edited by Mark Shiel and Tony Fitzmaurice. Oxford, UK; Malden, Mass.: Blackwell Publishers, 2001.

-          Michel Chion, “Aesthetics and poetics. Jacques Tati: the cow and the moo,” in Film, A Sound Art, translated by Claudia Gorbman. New York: Columbia University Press, 2009.

-          Janice Mouton, “From Feminine Masquerade to Flâneuse: Agnès Varda's Cléo in the City,” Cinema Journal, Vol. 40, No. 2 (Winter, 2001), pp. 3-16.

-          Claudia Gorbman, “Varda’s Music,” Music and the Moving Image, Vol. 1, No. 3 (Fall 2008), pp. 27-34.

Optional:

-          Alastair Phillips. “City of Light: Paris as Spectacle,” in City of Darkness, City of Light: émigré Filmmakers in Paris 1929-1939. Amsterdam: Amsterdam University Press, 2004.

-          Giuliana Bruno, “Haptic Space: Film and the Geography of Modernity,” in Visualizing the City. edited by Alan Marcus and Dietrich Neumann. London; New York: Routledge, 2007.

-          “Cinécities in the Sixties,” in The Cinematic City, edited by David B. Clarke. London; New York : Routledge, 1997.

-          Lee Hilliker, “In the Modernist Mirror: Jacques Tati and the Parisian Landscape,” The French Review, Vol. 76, No. 2 (Dec., 2002), pp. 318-329.

-          Clara Orban, “Antonioni's Women, Lost in the City,” Modern Language Studies, Vol. 31, No. 2 (Autumn, 2001), pp. 11-27.

-          András Bálint Kovács, Screening Modernism: European Art Cinema, 1950-1980. Chicago: University of Chicago Press, 2007.

Week 7: Sound Technology and Sound Design

Screening: The Conversation (1974, Francis Ford Coppola, 113min) Nashville (1975, Robert Altman, 159min)

Required Reading:

-          James Lastra, “Film and the Wagnerian Aspiration: Thoughts on Sound Design and the History of the Senses,” in Lowering the Boom: Critical Studies in Film Sound, edited by Jay Beck and Tony Grajeda. Urbana: University of Illinois Press, 2008.

-          Charles Schreger, “Contemporary Innovators Altman, Dolby, and the Second Sound Revolution,” in Film Sound: Theory and Practice, edited by Elisabeth Weis and John Belton. New York: Columbia University Press, 1985.

-          Vivian Sobchack, “When the Ear Dreams: Dolby Digital and the Imagination of Sound,” Film Quarterly, Vol. 58, No. 4 (Summer 2005), pp. 2-15.

-          Ruth Benschop, “All the Names: Soundscapes, Recording Technology, and the Historical Sensation,” in Sound Souvenirs: Audio Technologies, Memory and Cultural Practices, Edited by Karin Bijsterveld & José van Dijck, Amsterdam University Press, 2009.

Optional:

-          Michael Jarrett and Walter Murch, “Sound Doctrine: An Interview with Walter Murch,” Film Quarterly, Vol. 53, No. 3 (Spring, 2000), pp. 2-11.

-          STARR A. MARCELLO, “Performance Design: An Analysis of Film Acting and Sound Design,” Journal of Film and Video, Vol. 58, No. 1/2 (SPRING/SUMMER 2006), pp. 59-70.

Week 8: Sound in Science Fiction Film and Dystopian City

Screening: Alphaville (1965, Jean-Luc Godard, 99min) Blade Runner (1982, Ridley Scott, 117min) (Brazil (1985, Terry Gilliam, 132min))

Required Reading:

-          Vivian Sobchack, “Cities on the Edge of Time: The Urban Science Fiction Film,” Wong Kin Yuen, On the Edge of Spaces: Blade Runner, Ghost in the Shell and Hong Kong's Cityscape,” in Liquid Metal: the Science Fiction Film Reader, edited by Sean Redmond. London; New York: Wallflower, 2004.

-          Michael HannanMelissa Carey, Chapter 8, “Ambient Soundscapes in Blade Runner,” Philip Hayward, “Introduction: Sci Fidelity--Music, Sound and Genre History,” in Off the Planet: Music, Sound and Science Fiction Cinema, edited by Philip Hayward. Eastleigh, UK: John Libbey; Bloomington, IN: distributed in North America by Indiana University Press, 2004.

-          James Donald, “Sounds Like Hell: Beyond Dystopian Noise,” in Noir Urbanisms: Dystopic Images of the Modern City, edited by Gyan Prakash. Princeton, N.J : Princeton University Press, 2010.

-          Alan Williams, “Godard's Use of Sound,” in Film Sound: Theory and Practice, edited by Elisabeth Weis and John Belton. New York: Columbia University Press, 1985.

Optional:

-          J. P. Telotte, "Just Imagine-ing" the "Metropolis" of Modern America,” Science Fiction Studies, Vol. 23, No. 2 (Jul., 1996), pp. 161-170.

-          William Whittington, Sound Design & Science Fiction. Austin, TX: University of Texas Press, 2007.

-          Giuliana Bruno, “Ramble City: Postmodernism and "Blade Runner",” October, Vol. 41 (Summer, 1987), pp. 61-74.

Week 9: Asian Cityscapes of Memory and Absence

Screening: The Terrorizers (1986, Edward Yang, 109min), Chunking Express (1994, Wong Kar-Wai, 98min)

Required Reading:

-          Elena Pollacchi. “The Sound of the City: Chinese Films of the 1990s and Urban Noise,” in Cities in Transition: the Moving Image and the Modern Metropolis. London; New York: Wallflower Press, 2008.

-          John Anderson, “The terrorizer,” in Edward Yang. Urbana: University of Illinois Press, 2005.

-          Ackbar Abbas. “Affective Spaces in Hong Kong/Chinese Cinema,” in Cinema at the City's Edge: Film and Urban Networks in East Asia, edited by Yomi Braester and James Tweedie. Hong Kong: Hong Kong University Press, 2010.

-          Christina Lee, “"We'll Always Have Hong Kong": Uncanny Spaces and Disappearing Memories in the Films of Wong Kar Wai,” in Violating Time: History, Memory, and Nostalgia in Cinema, edited by Christina Lee. New York: Continuum, 2008.

Optional:

-          Howard Hampton, “Blur as Genre Wong Kar-wai's Chungking Express,” in Born in Flames: Termite Dreams, Dialectical Fairy Tales, and Pop Apocalypses. Cambridge, Mass.: Harvard University Press, 2007.

-          Tsung-yi Huang, “Hong Kong Blue: Flâneurie with the Camera's Eye in a Phantasmagoric Global City,” Journal of Narrative Theory, Vol. 30, No. 3, Cinema & Narrative (Fall, 2000), pp. 385-402.

 

Week 10: The Globalized City and Virtual World

Screening: The World (2005, Jia Zhangke, 143min) Of Time and the City (2008, Terence Davies) (Goodbye Dragon Inn (2003, Tsai Ming-Liang, 82min))

Required Reading:

-          Charlotte Brunsdon, “Towards a History of Empty Spaces,” in The city and the Moving Image: Urban Projections, edited by Richard Koeck and Les Roberts. Houndmills, Basingstoke, Hampshire; New York: Palgrave Macmillan, 2010.

-          Erik Bordeleau, “The World without Future: Stage as Entrapment in Jia Zhangke's Film,” China Review, Fall 2010, v. 10, iss. 2, pp. 155-76.

-          Arianne Gaetano, “Rural Woman and Modernity in Globalizing China: Seeing Jia Zhangke's The World,” Visual Anthropology Review. 2009, Vol. 25 Issue 1, p25-39.

-          Lu, Tonglin, “Fantasy and Reality of a Virtual China in Jia Zhangke's Film The World,” Journal of Chinese Cinemas, 2008; 2 (3): 163-179.

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