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Předmět, akademický rok 2019/2020
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Movement Between Cinema and Religious Studies - ARL100339
Anglický název: Movement Between Cinema and Religious Studies
Zajišťuje: Ústav filosofie a religionistiky (21-UFAR)
Fakulta: Filozofická fakulta
Platnost: od 2019
Semestr: zimní
Body: 0
E-Kredity: 5
Způsob provedení zkoušky: zimní s.:
Rozsah, examinace: zimní s.:0/2 Zk [hodiny/týden]
Počet míst: neurčen / 20 (20)
Minimální obsazenost: neomezen
Stav předmětu: vyučován
Jazyk výuky: angličtina
Způsob výuky: prezenční
Úroveň:  
Další informace: https://dl1.cuni.cz/course/view.php?id=8041
Poznámka: předmět je možno zapsat mimo plán
povolen pro zápis po webu
Garant: Mgr. Milan Kroulík
Vyučující: Mgr. Milan Kroulík
Třída: A – Mezioborová nabídka VP: Filosofie, náboženství
Exchange - 03.4 Photography, Cinematography
Exchange - 08.1 Philosophy
Exchange - 14.7 Anthropology
Rozvrh   Nástěnka   
Anotace - angličtina
Poslední úprava: Mgr. Milan Kroulík (11.09.2019)
The aim of this course is to attune students to a world, where that which gives itself to perception in seemingly immediate ways, is at the same time constructed. In the first part, which take the form of submitted homework, students will read and summarize texts. They are chosen as an complex introduction into the interdisciplinary (philosophy, media theory, anthropology of technology and religion, Chinese thought) research of this seminar. In the second part – an intensive one week course – we will specifically focus on learning to see with cinema and class readings. Most of the material is concerned with bodies and movements in Hong Kong action cinema with some excursions into French avant-garde cinema and thought. A large part of the intensive course then will consist of watching films, discussing their formal effects and thus gain a sense for the trans-cultural complexity of the reality process. In other words, this course seeks to create a “pedagogy of perception”.

This will be a block course taking place from 9.12. to 13.12. In the weeks prior you will have homework in the form of reading and writing assignments. There will be two axes of research: cinema/body and China/body. These readings will form the basis of class discussion and for learning to see with cinema. Some knowledge in contemporary philosophy is of advantage but not necessary. In case of excessive enrollment, preference will be given to religious studies students.
Podmínky zakončení předmětu - angličtina
Poslední úprava: Mgr. Milan Kroulík (25.09.2019)

Important!!!

This will be a block seminar. In the first week of the semester, there will be an introductory class. During the course of the semester students will send in written homework in the form of abstracts from texts they will read. The exam will take the form of creating a short film related to the seminar topic. These shorts will be collectively screened and discussed. Alternatively, you can write a paper and present it during the group session.

 

Room 303 in HYB4 

Hybernská 998/4, 110 00 Nové Město

 

Schedule:

1.10., 18:15 – 19:00

9. 12. - 13.12., 17:30 – 20:45

Požadavky ke zkoušce - angličtina
Poslední úprava: Mgr. Milan Kroulík (11.09.2019)

Grading:

 

  • Active Participation 40%

  • Homework 35%

  • Exam 25%

 

Examination: The exam will take the form of creating a short film related to the seminar topic. These shorts will be collectively screened and discussed. Alternatively, you can write a paper and present it during the group session.

 

Since this is an Erasmus course, you will receive a grade.

Sylabus - angličtina
Poslední úprava: Mgr. Milan Kroulík (11.09.2019)

Part 1: Collective Readings

 

Geoghegan, Bernard Dionysius. 2013. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory, Culture, and Society 30.6: 66–82.

Winthrop-Young, Geoffrey. 2014. “The Kultur of cultural techniques: Conceptual inertia and the parasitic materialities of ontologization.” Cultural Politics 10.3: 376–388.

Chow, Rey. 1995. “Film as Ethnography; or, translation between cultures in the postcolonial world,” in R. Chow, Primitive Passions: Visuality, sexuality, ethnography, and contemporary Chinese cinema. New York: Columbia University Press, 173–202.

Latour, Bruno. 2005. ‘Trains of Thought: The fifth Dimension of Time and its Fabrication,” in A. N. Perret-Clermont (ed.), Thinking Time: A Multidisciplinary Perspective on Time, Göttingen: Hogrefe and Huber, 173–87.

Somaini, Antonio. 2016. “Walter Benjamin’s media theory: the Medium and the Apparat.” Grey Room 62: 6–41.

 

Part 2: Groups

 

Cinema/Body

 

Parker, Martin & Robert Cooper. 1998. “Cyborganization: Cinema as Nervous System,” in J. Hassard & R. Holliday (eds.). Organization/ representation: work and organizations in popular culture, London: Sage, 201–228.

Rutherford, Anne. 2011. “Cinema and Embodied Affect,” in A. Rutherford. What Makes a Film Tick? Cinematic Affect, Materiality and Mimetic Innervation. Bern: Peter Lang, 145 –164.

Kickasola, Joseph G. 2015. “It is a Restless Moment: Wong Kar-wai and the Phenomenology of Flow,” in M. P. Nochimson (ed.). A Companion to Wong Kar-wai. Chichester–Oxford: John Wiley, 2016, 47–79.

Game, Jérôme. 2001. “Cinematic Bodies. The Blind Spot in Contemporary French Theory on Corporeal Cinema.” Studies in French Cinema 1.1: 47–53.

Deleuze., Gilles. 1988. “On the Difference Between the Ethics and a Morality,” in G. Deleuze. Spinoza: Practical Philosophy. San Francisco: City Lights Books, 17–29.

Grønstad, Asbjørn. 2016. “Six Theses on the Ethical Imagination,” in A. Grønstad. Film and the Ethical Imagination. London: Palgrave MacMillan, 85–99.

Sierek, Karel. 2013. “Image-Animism: On the History of the Theory of a Moving Term.” Images Re-vues, Hors-série 4.

Mauss, Marcel. 1973. “Techniques of the Body.” Economy and Society 2: 70–88.

Chamarette, Jenny. 2017. “Embodying Spectatorship: From phenomenology to sensation,” in K. L. Hole et al. (eds.). The Routledge Companion to Cinema and Gender. New York: Routledge, 311–321.

Colman, Felicity. 2017. “Deleuzian Spectatorship,” in K. L. Hole et al. (eds.). The Routledge Companion to Cinema and Gender. New York: Routledge, 322–331.

 

 

China/Body

 

Bao, Weihong. 2010. “The Politics of Remediation: Mise-en-scène and the Subjunctive Body in Chinese Opera Film.” Opera Quarterly 26.2: 256–290.

Liao, Sebastian Hsien-Hao. 2014. “Becoming Butterfly: Power of the False, Crystal Image and Taoist Onto-Aesthetics,” in R. Bogue, H. Chiu & Y.-L. Lee (eds.), Deleuze and Asia. Newcastle upon Tyne: Cambridge Scholars Publishing, 1–28.

Bokenkamp, Stephen R. 2007. “What Daoist Body?,” in F.C. Reiter (ed.), Purposes, means and convictions in Daoism: A Berlin symposium. Wiesbaden: Harrassowitz, 131–150.

Chen, Jack W. 2011. “Social Networks, Court Factions, Ghosts, and Killer Snakes: Reading Anyi Ward.” " T'ang Studies 29: 45–61.

Jullien, François. 2004. “Action or Transformation,” in F. Jullien, A Treatise on Efficacy: Between Western and Chinese Thinking. Honolulu: University of Hawai'i Press, 46–60.

Jullien, François. 2009. “Image-Phenomenon: Painting Transformation and Life,” in F. Jullien, The Great Image Has No Form, On the Nonobject through Painting. Chicago & London: The University of Chicago Press, 227–240.

Wong, Kin-yuen. 2005. “Technoscience Culture, Embodiment and Wuda pian,” in M. Morris, S. L. Li, S.C. Ching-kiu, Hong Kong Connections: Transnational Imagination in Action Cinema. Hong Kong: Hong Kong University Press, 269–286.

Hui, Yuk. 2016. “Qi and Dao in Daoism: Pao Ding's Knife,” in Y. Hui, The Question Concerning Technology in China: An Essay in Cosmotechnics. Falmouth: Urbanomic, 101–108.

Hui, Yuk. 2016. “Qi and Dao in Confucianism: Restoring the Li,” in Y. Hui, The Question Concerning Technology in China: An Essay in Cosmotechnics. Falmouth: Urbanomic, 108–116.

 

Collective (no homework, only class discussion)

 

Steintrager, James A. 2014. “The Thirdness of King Hu: Wuxia, Deleuze, and the cinema of paradox.” Journal of Chinese Cinemas 8.2: 99–110.

Yip, Man-Fung. 2014. “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema.” Cinema Journal 53.4: 76–97.

Rutherford, Anne. 2017. “What is Body, What is Space: Performance and the Cinematic Body in a Non-Anthropocentric Cinema.” Arts 6.19.

Tang, Pao-Chen. 2018. “The grandmaster of snow: Martial arts, particle systems and the animist cinema.” Journal of Chinese Cinemas 12.1: 92–110.

Brenez, Nicole. 2005. “The Secrets of Movement: The Influence of Hong Kong Action Cinema upon the Contemporary French Avant-garde,” in M. Morris, S. L. Li, S.C. Ching-kiu, Hong Kong Connections: Transnational Imagination in Action Cinema. Hong Kong: Hong Kong University Press, 163–174.

Martin, Adrian. 2005. “At the Edge of the Cut: An Encounter with the Hong Kong Style in Contemporary Action Cinema,” in M. Morris, S. L. Li, S.C. Ching-kiu, Hong Kong Connections: Transnational Imagination in Action Cinema. Hong Kong: Hong Kong University Press, 175–188.

Hui, Yuk. 2016. “Some Notes on Method,” in Y. Hui, The Question Concerning Technology in China: An Essay in Cosmotechnics. Falmouth: Urbanomic, 53–57. 

Zito, Angela. 2015. “Body.” Material Religion 7.1.: 18–25.

Pellegrini, Ann. 2015. “Movement.” Material Religion 7.1.: 66–75. 

Howes, David. 2015. “Sensation.” Material Religion 7.1.: 92–99.

Martin, Adrian. 2016. “A Magic Identification with Forms: Philippe Grandrieux in the Night of Artaud.” Image and Narrative 17.5.

 

 

Optional (Buddhist Tradition):

 

Cheng, Sinkwan. 2008. “Comparative Philosophies of Tragedy: Buddhism, Lacan, and Ashes of Time.” Comparative Literature Issue 123.5: 1163–1187.

Wong, Wayne. 2018. “Action in tranquillity: Sketching martial ideation in The Grandmaster.” Asian Cinema 29.2: 201–223.

Farquhar, Mary. 2009. “The Idea-Image: Conceptualizing Landscape in Recent Martial Arts Movies,” In S. H. Lu & J. Mi (eds.), Chinese Ecocinema: in the Age of Environmental Challenge. Hong Kong: Hong Kong University Press, 95–112.

 

 

Screenings:

  

Most of the screenings will be fragments from Hong Kong Action cinema (e.g. King Hu, Chang Cheh, Yuen Chor, Tsui Hark, Patrick Tam, Ching Siu-Tung, Yuen Woo-ping, Chen Kaige, Zhang Yimou, John Woo, Johnnie To) and some French avantgarde (e.g. Xavier Baert, Othello Vilgard, Johanna Vaude). Additionally three whole pieces will be shown:

 

Wong, Kar-Wai. 1994. 東邪西毒 Redux. Hong Kong, 93 min. 

Hou, Hsiao-hsien. 2015. 刺客聶隱娘. Taiwan, 105 min.

Grandrieux, Phillipe. 2002. La Vie nouvelle. France, 102 min.

 

 
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