影像的時間：電影與時間性

Introduction Stephen Kern, “Introduction,” The Culture of Time and Space, 1880–1918, Cambridge, Massachusetts; London, England: Harvard University Press, 2003, 1-9.

I. What is Cinematic Temporality? Temporality and Cinema Matilda Mroz, “Time, in Theory,” Temporality and Film Analysis, Edinburgh: Edinburgh University Press, 2012, 13-48. Stephen Kern, “The Nature of Time,” The Culture of Time and Space, 1880–1918, Cambridge, Massachusetts; London, England: Harvard University Press, 2003, 10-35.

Time and Narrative The Hours (Stephen Daldry, 2002) Harry Jansen, “Time, Narrative, and Fiction: The Uneasy Relationship Between Ricoeur and a Heterogeneous Temporality,” History and Theory, Vol. 54, No. 1 (February 2015): 1-24. Paul Ricoeur, “Narrative Time,” Critical Inquiry, Vol. 7, No. 1, On Narrative (Autumn, 1980): 169-190.

Time in Representation Mary Ann Doane, “The Representability of Time,” The Emergence of Cinematic Time: Modernity, Contingency, the Archive, Cambridge, Massachusetts; London, England: Harvard University Press, 2002, 1-32. Walter Benjamin, “Theses of the Philosophy of History,” Illuminations: Essays and Reflections, edited by Hannah Arendt, translated by Harry Zohn, New York: Schocken Books, 1968, 253-264.

Part II. Cinematic Time in Theory The Lover’s Time Mauvais Sang (Leos Carax, 1986) In the Mood for Love (Wong Kar-wai, 2000) Lu Zeng, “Eternity Descending into Time: Badiou and the Cinematic Temporality of Love,” Film-Philosophy 29.1 (2025): 221-243. Simon O’Sullivan, “The Strange Temporality of the Subject: Badiou and Deleuze between the Finite and the Infinite,” Subjectivity, Vol. 27 (2009): 155–171.

Time and the Image of Death Macbeth (Rupert Goold, 2010) Jeremy Tambling, “Levinas and Macbeth’s ‘Strange Images of Death,’” Essays in Criticism, Volume 54, Issue 4 (October 2004): 351–372, https://doi.org/10.1093/eic/54.4.351. References William Shakespeare, Macbeth (Arden Shakespeare), edited by Kenneth Muir, London: Methuen, 1966. 2017 Stratford Festival: Shakespeare’s Macbeth https://www.youtube.com/watch?v=jzFrnFP--RA

What is Real Time (1)?: Documentary and Recorded Time Spare Time (1939) Fahrenheit 9/11 (Michael Morre, 2004) Man on Wire (James Marsh, 2008) Walker (Tsai Ming-Liang, 2012), https://vimeo.com/49339358 John Corner, “Temporality and Documentary,” Time, Media and Modernity, edited by Emily Keightley, London: Palgrave Macmillan, 2012, 69-84. Song Hwee Lim, “Walking in the City, Slowly: Spectacular Temporal Practices in Tsai Ming-liang’s ‘Slow Long March Series,’” Screen, Vol. 58, Issue 2 (Summer 2017): 180-196.

What is Real Time (2)?: Cinematic Duration and the Long Take Resurrection (Bi Gan, 2025) Xinyuan Wang, “Cinema Disembodied?: Bi Gan Revisiting the Death-of-Cinema Cliché with Resurrection,” Senses of Cinema, Issue 115 (November 2025), https://www.sensesofcinema.com/2025/feature-articles/cinema-disembodied-bi-gan-revisiting-the-death-of-cinema-cliche-with-resurrection/. Bernard Stigler, “Cinematic Time,” Technics and Time, 3: Cinematic Time and the Question of Malaise, translated by Stephen Barker, Stanford: Stanford University Press, 2011, 8-34. Reference Three (Johnnie To, 2016)

III. Cinema of Memory Cinematic Times The Road to Yesterday (Cecil DeMille, 1925) The Shining (Stanley Kubrick, 1980) Alison Landsberg, “Cinematic Temporality: Modernity, Memory and the Nearness of the Past,” Time, Media and Modernity, edited by Emily Keightley, London: Palgrave Macmillan, 2012, 85-101. Amy Nolan, “Seeing is Digesting: Labyrinths of Historical Ruin in Stanley Kubrick's The Shining,” Cultural Critique, Vol. 77 (Winter 2011): 180-204. Reference Fredric Jameson, “The Shining,” Social Text, No. 4 (Autumn, 1981): 114-125.

Finding Time in Cinema: Temporality and Timeliness The Limey (Steven Soderbergh, 1999) Lee Carruthers, “Biding Our Time: Rethinking the Familiar in Steven Soderbergh’s The Limey,” Doing Time: Temporality, Hermeneutics, and Contemporary Cinema, New York: SUNY Press, 2016, 37-57. Martin Heidegger, Being and Time, translated by John Macquarrie and Edward Robinson, London: Blackwell, 1962, 370-380 (Division 2, Section 65). References Lee Carruthers, “Timeliness and Contemporary Cinema,” Doing Time: Temporality, Hermeneutics, and Contemporary Cinema, New York: SUNY Press, 2016, 11-35. Martin Heidegger, Being and Time, translated by Joan Stambaugh, New York: State University of New York Press, 2010, 309-315 (Division 2, Section 65).

Traumatic Temporality via Deleuze and Bergson Last Year at Marienbad (Alain Resnais, 1961) Hunter Vaughan, “Alain Resnais and the Code of Subjectivity,” Where Film Meets Philosophy: Godard, Resnais, and Experiments in Cinematic Thinking, Columbia University Press, 2013, 139-168. D.N. Rodowick, “Time and Memory, Orders and Powers,” Gilles Deleuze’s Time Machine, Durham and London: Duke University Press, 1997, 79-118 (especially 95-109).

The “Afterimage” and the Archival Cinema Caught by the Tides (Jia Zhangke, 2024) Nietzsche, “On the Utility and Liability of History for Life,” Unfashionable Observations, translated by Richard T. Gray, Stanford: Stanford University Press, 1995, 83-168. Adrian Little, “Rethinking Time,” Temporal Politics: Contested Pasts, Uncertain Futures, Edinburgh University Press, 2022, pp. 27-46. References Twin Peaks – Seasons 1 and 2 (1990-1991), Season 3 (David Lynch, 2017)

IV. Cinematic Engagement Distraction, Attraction, Contemplation Charles Musser, “A Cinema of Contemplation, A Cinema of Discernment: Spectatorship, Intertextuality and Attractions in the 1890s,” The Cinema of Attractions Reloaded, edited by Wanda Strauven, Amsterdam: Amsterdam University Press, 159-179. Tom Gunning, “Attractions: How They Came into the World,” The Cinema of Attractions Reloaded, edited by Wanda Strauven, Amsterdam: Amsterdam University Press, 31-39.

Long-Take Duration vs. Post-Continuity Cinema Sátántangó (Béla Tarr, 1994) Boarding Gate (Olivier Assayas, 2007) Calum Wattm “Experiencing the Absence of Time: Satantango,” Blanchot and the Moving Image: Fascination and Spectatorship, Legenda, 2017, 103-131. Steven Shaviro, “Boarding Gate,” Post-cinematic Affect, Winchester, UK; Washington, USA: Zero Books, 2010, 35-63. Reference: Steven Shaviro, “Post-Continuity: An Introduction,” Post Cinema: Theorizing 21st -Century Film, edited by Shane Denson and Julia Leyda, Falmer: REFRAME Books, 2016, 51-64.

Uncertain Times Déjà vu (Tony Scott, 2006) Sean Cubitt, “Temporalities of the Glitch: Déjà vu,” Indefinite Visions: Cinema and the Attractions of Uncertainty, edited by Martine Beugnet, Allan Cameron, and Arild Fetveit, Edinburgh: Edinburgh University Press, 2017, 299-315.

Final paper presentation