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Murnau's Nosferatu (1922)¡BMichelangelo Antonioni's Red Desert (1963), Andrei Tarkovsky's Andrei Rublev (1966)¡BAlain Cavalier's Th‚rŠse (1986)- «á³]¹q¼v¸g¨å¥Nªí¡G°ª¹FPierrot le Fou (1965), Passion (1982)¡B«÷¶Kcollage¡BÃÀ³N¥v»Pµ¼Ö¹ï¦ìªk
- «á³]¹q¼v¸g¨å¥Nªí¡G®æªL¨º«ÂThe Draughtsman's Contract, Prospero's Books (1991)¡B¤Ú¬¥§JBaroque, Mannerism»P·¥µ¼Öminimalism
- «á³]¹q¼v¦UºØÅÜ»ª¡G¥iÄ~Äò²`¤J±´°Q°ª¹F(Pr‚non: Carmen (1983), Contempt, D‚tective (1985), Soigne Ta Droite (1987), Nouvelle Vague (1990))»P®æªL¨º«Â(The Cook, The Thief, His Wife and Her Lover (1990), Drowning by Numbers (1991), A Zed and Two Noughts, The Belly of an Architect, The Pillow Book)ªº¼v¤ù¡A©Î¬OÂà¦V¨ä¥L¾Éºt¡A¨Ò¦p·Å¼w´µ¡B¨ÌÄË¡D¦ã®æ¨¥¡B¥î}¡D¦ãÛ¡B¸ë°Ò¡BÃöÀAÄP¡K¡K¡]¨Ì°Ñ»P¦P¾Ç¿³½ì¦Ó©w¡^
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Alain Cavalier's Therese (1986)²Ä¤C¶g ¢°¢¯¤ë¢±¢¸¤é ©â¶Hµe»P²{¥N¯îì
Michelangelo Antonioni's Red Desert (1963)²Ä¤K¶g ¢°¢°¤ë¢´¤é °ª¹FJean-Luc Godardªº¨Åé»P¼v¹³¬Fªv
Jean-Luc Godard's Pierrot le Fou (1965)²Ä¤E¶g ¢°¢°¤ë¢°¢±¤é ©ñ°² ²Ä¤Q¶g ¢°¢°¤ë¢°¢¸¤é °ª¹F¹q¼v¤¤ªºÃ¸µe»Pµ¼Öµ²ºc
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Peter Greenaway ø¹Ï®vªº¦X¬ù The Draughtsman's Contract²Ä¤Q¤G¶g ¢°¢±¤ë¢²¤é ®æªL¨º«Â»P¤å¤Æ¥vªº¹ï¸Ü
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http://www.sa.ua.edu/TCF/res/pub/books/txfem.htm- ½u¤W¹q¼v¬ã¨s¸ê·½
http://www.sa.ua.edu/screensite/research.htm/theory/theory.html- ¦³Ãö¤å¾Ç¤¤±Ôz®Ø¬[ªº²z½×±´°Q¡G¨Ò¦p¡m¤Q¤éÃÓ¡n
http://www.brown.edu/Departments/Italian_Studies/dweb/literature- µ¼Ö²z½×½u¤W´Á¥Z
http://boethius.music.ucsb.edu/mto/issues/mto.96.2.1/mto.96.2.1.lochhead.html- µøıÃÀ³N¹q¤l´Á¥Z
http://www.uwo.ca/visarts/main.html
²Ä¤G¶g ¢¸¤ë¢±¢³¤é ¤p»¡¤¤ªº±Ôz®Ø¬[»P«á³]¤p»¡ ¤å¾Ç§@«~I´º¡G
- ¶øºû¼wOvid¡mÅܧΰO¡nMetamorphosis ¤¤²Ä¤¡B¤»³¡¤¤»PMinerva¦³Ãöªº¬G¨Æ¡]¥ç¥i°Ñ¦Ò§B¦÷¥CBoccaccio¡m¤Q¤éÃÓ¡nDecameron¤¤¥ô¦ó¤@Ó¬G¨Æ¡^
- ³Åº¸´µ John Fowlesªº¡mªk°ê¤¤±Lªº¤k¤H¡nThe French Lieutenant's Womanµ²§½¡]²Ä¢´¢´³¹¨ì²Ä¢µ¢°³¹¡^
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- Waugh, Patricia. Metafiction. New York: Routledge, 1987.¡]¤¤Ä¶¥»¡þÀd¾m¥Xª©ªÀ¡A¢°¢¸¢¸¢³¡^¡þ¡m«á³]¤p»¡¡G¦Û§Ú·NÃѤp»¡ªº²z½×»P¹ê½î¡n¿úÄv¡B¼B¿PÀØĶ¡CEsp. ²Ä¤G³¹¡u¤å¾Ç¦Û§ÚÃÀ³Nªºµo®i¡v¡C
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²Ä¤T¶g ¢°¢¯¤ë¢°¤é ¸óÃÀ³N¬ã¨s°ò¥»²z½×¡Gøµe¡B¤å¦r»Pµ¼Öªº²Å¸¹¤¬°Ê ¡i¾\Ū§÷®Æ¡G¸óÃÀ³N°ò¥»²z½×¡j
- Jean H. Hagstrum's "Classical Antiquity" in The Sister Arts (handout)
- Murray Krieger's "Picture and Word, Space and Time" in Ekphrasis: The Illusion of the Natural Sign (handout)
- W. J. T. Mitchell's "Ekphrasis and the Other" in Picture Theory (handout)
- Martin Jay's "The Camera as Memento Mori: Barthes, Metz, and the Cahiers du Cin‚ma" in Downcast Eyes
- Andrew Barry's "Reporting and Visualising" in Visual Culture (handout)
²Ä¥|¶g ¢°¢¯¤ë¢·¤é ¹q¼vªº¦hy»y¨¥²Å¸¹¨t²Î ¡i¾\Ū§÷®Æ¡G¹q¼v²Å¸¹¾Ç°ò¥»²z½×¡j
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Rosen, Philip. "Introduction: Text and Subject" in Narrative, Apparatus, Ideology: A Film Theory Reader. ed. by Rosen, Philip. New YorK: Columbia University Press, 1986. pp. 155-171.- ±ÔzªÅ¶¡
Heath, Stephen. "Narrative Space." in Narrative, Apparatus, Ideology: A Film Theory Reader. ed. by Rosen, Philip. New YorK: Columbia University Press, 1986. pp. 379-420.- Ánµ¤¤ªº¨HÀq
Bonitzer, Pascal. "The Silences of the Voice (A propos of Mai 68 by Gudie Lauaetz)" in Narrative, Apparatus, Ideology: A Film Theory Reader. ed. by Rosen, Philip. New YorK: Columbia University Press, 1986. pp. 319-334.- Á_¦X
Silverman, Kaja. "Suture" in Narrative, Apparatus, Ideology: A Film Theory Reader. ed. by Rosen, Philip. New YorK: Columbia University Press, 1986. pp. 219-235.²Ä¤¶g ¢°¢¯¤ë¢°¢´¤é «á³]¹q¼vªº¬Fªv¥ø¹Ï¡GÂø¥æ¤å¥»»Pæ¬É¸ó¶V ¡i©ñ¬M¹q¼v¡GMurnau's Nosferatu: A Symphony of Horror (1922)¡j
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- Angela Dalle Vacche's "Murnau's Nosferatu: Romantic Painting as Horror and Desire in Expressionist Cinema" 161-196
- Brigitte Peucker's "Bodies and Boundaries," 3-7; "Monstrous Births: the Hybrid Text," 55-103
- ®öº©µe¬£·®æ¤Î¬ÛÃö°Q½×¡]¹Ï®ÑÀ]µe¥U¡^¡A¤×¨ä¬O¼w°ê®öº©¥D¸q¨ìªí²{¥D¸qªºÃö³s¡A¥i¯S§Oª`·N´X¦ìµe®a¡A¨Ò¦p Caspar David Driedrich, Arnold B”cklin, Guirgio De Chirico, Ernst Ludwig Kirchner
²Ä¤»¶g ¢°¢¯¤ë¢±¢±¤é ¤¤¥@¬ö¸t¹³µeªº««Ø ¡i©ñ¬M¹q¼v¡G Andrei Tarkovsky's Andrei Rublev (1966)¡j
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- Angela Dalle Vacche's "Andrei Tarkovsky's Andrei Rublev: Cinema as the Restoration of Icaon Painting" 135-160
- Tarkovsky's Sculpting in Time, 36-56, 57-81
- øµe¥v¤¤¸t¹³µe¶Ç²Î(Icon painting)¤Î¬ÛÃö°Q½×¡]¹Ï®ÑÀ]µe¥U¡^¡A¥i¯S§Oª`·N¤¤¥@¬ö¸t¹³µe»P¤åÃÀ´_¿³®É´Á©v±Ðµeªº®t§O¡A Andrei Rublev ªºµe¡A¥H¤ÎTarkovsky¹q¼v¤¤±`±`¤Þ¥Îªºµe®a¡A¨Ò¦pFra Angelica, Duccio di Buoninsegna, Vittore Carpaccio, EugŠne Delacroix, Hieronymus Bosch, Rembrandt, Th‚odore G‚ricault, Peter Paul Rubens, M.C. Escher
²Ä¤C¶g ¢°¢¯¤ë¢±¢¸¤é ÀRª«µe»P¤k©ÊªÅ¶¡ ¡i©ñ¬M¹q¼v¡GAlain Cavalier's Therese (1986)¡j
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- Angela Dalle Vacche's "Alain Cavalier's Th‚rŠse: Still Life and the Close-Up as Feminine Space" 201-245
- Norman Bryson's Looking at the Overlooked, 136-178.
- øµe¥v¤¤ÀRª«µe¶Ç²Î¤Î¬ÛÃö°Q½×¡]¹Ï®ÑÀ]µe¥U¡^¡A¯S§O¬O Diego Vel zquez, Edouard Manet
²Ä¤K¶g ¢°¢°¤ë¢´¤é ©â¶Hµe»P²{¥N¯îì ¡i©ñ¬M¹q¼v¡G Michelangelo Antonioni's Red Desert (1963)¡j
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- Angela Dalle Vacche's "Michelangelo Antonioni's Red Desert: Painting as Ventriloguism and Color as Movement" 43-80
- Deleuze, Gilles. Cinema 1 & Cinema 2 »P Antonioni¬ÛÃöªº³¡¥÷
- øµe¥v¤¤©â¶Hµe¤Î¬ÛÃö°Q½×¡]¹Ï®ÑÀ]µe¥U¡^
²Ä¤E¶g ¢°¢°¤ë¢°¢±¤é ©ñ°² ²Ä¤Q¶g ¢°¢°¤ë¢°¢¸¤é °ª¹FJean-Luc Godardªº¨Åé»P¼v¹³¬Fªv ¡i©ñ¬M¹q¼v¡G Jean-Luc Godard's Pierrot le Fou (1965)¡j
¡i¾\Ū§÷®Æ¡G°ª¹F¹q¼v¤¤ªº«á³]©Ê¥H¤Î¨Åé»P¼v¹³¬Fªv¡j¡@¡@¡@¡@
- Stam, Robert. Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard. New York: Columbia University Press, 1985. 1-27 »P¨ä¥L¦³Ãö°ª¹Fªº³¡¥÷
- Vacche, Angela Dalle. "Godard's Pierrot le Fou: Cinema as Collage against Painting" in Cinema and Painting: How Art Is Used in Film. 106-134.
- ¡m©|¡Ð¿c¡D°ª¹F¡G¼v¹³¡DÁnµ»P¬Fªv¡n¤@®Ñ¤¤¤§¬ÛÃö³¡¥÷
- øµe¤¤ªº«÷¶K¶Ç²Î¡]ÃÀ³NÀ]¡m«÷¶KÃÀ³Nªº¾ú¥v¡n¡^¡A¥H¤Î Diego Vel zquez, Renoir, Picasso, Modigliani, Matisse, and Georges Rouault.
²Ä¤Q¤@¶g ¢°¢°¤ë¢±¢µ¤é °ª¹FJean-Luc Godard¹q¼v¤¤ªºÃ¸µe»Pµ¼Öµ²ºc ¡i©ñ¬M¹q¼v¡GJean-Luc Godard's Passion (1982)¡j
¡i¾\Ū§÷®Æ¡G°ª¹F¹q¼v¤¤Ánµ»P¼v¹³¹ï¸Üªº¬Fªv¤O¶q¡j
- MacCabe, Colin. & Mick Eaton & Laura Mulvey. Jean-Luc Godard: Image, Sound & Politics. Indiana University Press, 1980. trans. into Chinese by Lin, Bao-yuan. Tonsan Books, 1991.¤¤¤åĶ¥»¡A¦³Ãö°ª¹F¤¤±ß´Á§@«~
- Deleuze, Gilles. Cinema 2: The Time-Image. Les Editions de Minuit 1985; Minneapolis: University of Minnesota Press, 1991. 156-188; 189-224.
- ¡m©|¡Ð¿c¡D°ª¹F¡G¼v¹³¡DÁnµ»P¬Fªv¡n
- °Ñ¦Ò¼B¬ö¿·°Q½×°ª¹FPrenon Carmen »PPassion ªº¤å³¹¤¤¦³Ãöµ¼Öªº³B²z
- ¯S§Oª`·N¦¹¤ù¤¤¤Þ¥Îªºµe®a¡A¨Ò¦pRembrandt, El Greco, EugŠne Delacroix
²Ä¤Q¤G¶g ¢°¢±¤ë¢²¤é ®æªL¨º«ÂPeter Greenaway¹q¼v¤¤ªº¦Ù²z»Pµe®Ø ¡i©ñ¬M¹q¼v¡Gø¹Ï®vªº¦X¬ùThe Draughtsman's Contract¡j
¡i¾\Ū§÷®Æ¡G®æªL¨º«Â¹q¼v¤¤ªº¦Ù²z»Pµe®Ø¡j
- Alan Woods's Being Naked Playing Dead: The Art of Peter Greenaway, 31-136.
- Brigitte Peucker's "Incorporation: Images and the Real" 104-167
²Ä¤Q¤T¶g ¢°¢±¤ë¢°¢¯¤é ®æªL¨º«ÂPeter Greenaway»P¤å¤Æ¥vªº¹ï¸Ü ¡i©ñ¬M¹q¼v¡G Å]ªk®vªºÄ_¨åProspero's Book¡j
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- Alan Woods's Being Naked Playing Dead: The Art of Peter Greenaway, 137-178.
- Jean Baudrillard's "The Trompe-L'Oeil" in Calligram: Essays in New Art History from France. 53-62.
- ¦³ÃömannerismªºÃÀ³N¥v°Q½×¥H¤Î·¥µ¼Öminimalismªº°Q½×
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http://152.175.1.205/CIJarman.html- ¨ÌÄË¡D¦ã®æ¨¥Atom Egoyan¡G
http://canada-acsus.plattsburgh.edu/video/egoyan.htm
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- MacCabe, Colin. & Mick Eaton & Laura Mulvey. Jean-Luc Godard: Image, Sound & Politics. Indiana University Press, 1980. trans. into Chinese by Lin, Bao-yuan. Tonsan Books, 1991.ªLÄ_¤¸Ä¶¡D¡m©|¡Ð¿c¡D°ª¹F¡G¼v¹³¡DÁnµ»P¬Fªv¡n¥x¥_¡Gð¤s¥Xª©ªÀ¡A¢°¢¸¢¸¢°¡C
- Peucker, Brigitte. Incorporating Images: Film and the Rival Arts. Princeton University Press, 1995.
- Rosen, Philip. ed. Narrative, Apparatus, Ideology: A Film Theory Reader. New YorK: Columbia University Press, 1986.
- Vacche, Angela Dalle. Cinema and Painting: How Art Is Used in Film. Austin: University of Texas Press, 1996.
¡i¬ÛÃö°Ñ¦Ò®ÑÄy¡j ¡@½Ð°Ñ¨£Meta-cinematic studies and comparative artSelected Bibliography