日本語 English
| 開講年度/ Academic YearAcademic Year |
20232023 |
| 科目設置学部/ CollegeCollege |
現代心理学部/College of Contemporary PsychologyCollege of Contemporary Psychology |
| 科目コード等/ Course CodeCourse Code |
自動登録/automatic registrationautomatic registration |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
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| 授業形態/ Class FormatClass Format |
対面（全回対面）/Face to face (all classes are face-to-face)Face to face (all classes are face-to-face) |
| 授業形態（補足事項）/ Class Format (Supplementary Items)Class Format (Supplementary Items) |
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| 授業形式/ Class StyleCampus |
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| 校地/ CampusCampus |
新座/NiizaNiiza |
| 学期/ SemesterSemester |
秋学期/Fall semesterFall semester |
| 曜日時限・教室/ DayPeriod・RoomDayPeriod・Room |
火2･N8B1/Tue.2･N8B1 Tue.2･N8B1 |
| 単位/ CreditCredit |
22 |
| 科目ナンバリング/ Course NumberCourse Number |
BEC1310 |
| 使用言語/ LanguageLanguage |
日本語/JapaneseJapanese |
| 履修登録方法/ Class Registration MethodClass Registration Method |
自動登録/Automatic RegistrationAutomatic Registration |
| 配当年次/ Grade (Year) RequiredGrade (Year) Required |
配当年次は開講学部のR Guideに掲載している科目表で確認してください。配当年次は開講学部のR Guideに掲載している科目表で確認してください。 |
| 先修規定/ prerequisite regulationsprerequisite regulations |
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| 他学部履修可否/ Acceptance of Other CollegesAcceptance of Other Colleges |
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| 履修中止可否/ course cancellationcourse cancellation |
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| オンライン授業60単位制限対象科目/ Online Classes Subject to 60-Credit Upper LimitOnline Classes Subject to 60-Credit Upper Limit |
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| 学位授与方針との関連/ Relationship with Degree PolicyRelationship with Degree Policy |
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| 備考/ NotesNotes |
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| テキスト用コード/ Text CodeText Code |
HN106 |
The Department of Body Expression and Cinematic Arts pursues the theories of image and embodiment. The goal of this course is to understand the fundamentals and core ideas of this study.
During this course conducted by two professors, students will learn the fundamentals and core ideas of the studies of image and embodiment. It also makes the field of this concepts and the reason for their existence clear. With the help of the professors in charge, they will read the texts that belong to the lineage of the theory of image and embodiment. Then students will watch and investigate specific development of this theory through specific works and expressions, thus deepening the study of the theories of image and embodiment. The first half of this course is mostly about photographs which were the first form of mechanical perception that has ever appeared in human history, and human body perception. The second half is about the mechanical perception of the movie format, specifically starting from introducing Cinéma by Gilles Deleuze and progressing forwards from that.
※Please refer to Japanese Page for details including evaluations, textbooks and others.
映像身体学科が探求する、映像身体学。この授業では、その学びの基礎や核となる思考を理解することを目標とする。
The Department of Body Expression and Cinematic Arts pursues the theories of image and embodiment. The goal of this course is to understand the fundamentals and core ideas of this study.
二名の教員が担当する授業を通じて、身体学という学びの基礎や核となる発想を確認しながら、その思考の領域と存在意義を明らかにしていく。映像身体学の系譜に位置するテクストを紹介しながら、具体的な作品や表現を通して映像身体学の思考の具体的な展開を観て探り、映像身体学の学びを深める。前半は主に人類史上初めて登場した機械の知覚像である写真映像と人間の身体の知覚について、後半は映画という機械の知覚について、特にジル・ドゥルーズの『シネマ』を紹介しながら、掘り進めて学んでいく。
During this course conducted by two professors, students will learn the fundamentals and core ideas of the studies of image and embodiment. It also makes the field of this concepts and the reason for their existence clear. With the help of the professors in charge, they will read the texts that belong to the lineage of the theory of image and embodiment. Then students will watch and investigate specific development of this theory through specific works and expressions, thus deepening the study of the theories of image and embodiment. The first half of this course is mostly about photographs which were the first form of mechanical perception that has ever appeared in human history, and human body perception. The second half is about the mechanical perception of the movie format, specifically starting from introducing Cinéma by Gilles Deleuze and progressing forwards from that.
| 1 | イントロダクション |
| 2 | 映像身体学の基礎、その思考の核について１。担当者：日高 |
| 3 | 映像身体学の基礎、その思考の核について２。担当者：日高 |
| 4 | 映像身体学における〈機械の知覚〉という問題圏。担当者：日高 |
| 5 | 写真映像の実在性について。担当者：日高 |
| 6 | 映像の向かう二つの道－－写真映像を例に。担当者：日高 |
| 7 | 前半のまとめ。担当者：日高 |
| 8 | 思考の領域としての映像身体学とジル・ドゥルーズ『シネマ』。担当者：大山 |
| 9 | 『シネマ１』解題。担当者：大山 |
| 10 | 『シネマ１』とその映画作品について。担当者：大山 |
| 11 | 『シネマ２』解題。担当者：大山 |
| 12 | 『シネマ２』とその映画作品について。担当者：大山 |
| 13 | 『シネマ２』とその映画作品について。担当者：大山 |
| 14 | 全体のまとめ。担当者：大山 |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
授業時に指示する。
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
最終レポート(Final Report)(30%) 授業に取り組む姿勢及び出席(70%) |
| 備考 (Notes) | ||
| その他 (Others) | |||||
|---|---|---|---|---|---|
| 授業時に指示、配布する。 |