Art of the Moving Image

LIN Chi-Ming
This course provides a critical introduction to the shifting relationship between art and the moving image with particular attention to the aesthetic, social, political and technological developments that have shaped the development of the moving image as an art form.
In particular, the course will explore the ways in which moving images and time-based practices have become highly visible and ubiquitous features of contemporary art.  Through a range of critical writings and case-studies of moving image art, the course will examine the turn to the moving image in contemporary art and the various ways in which moving image art intersect with cinema, television and social media. The course will also consider the increasing dominance of the moving image – ranging from analogue and digital video, multimedia installations and internet-based work –  and its current widespread use in exhibitions through ‘black box’ or large-scale cinematic modes of image projection.
Indicative References:
Andre Bazin, “The Ontology of the Photographic Image”, What Is Cinema?, Berkeley: California UP, 1967.
Dziga Vertov, Kino- Eye: The Writings of Dziga Vertov, Berkeley: California UP, 1984.
Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction”, Illuminations, New York: Schocken Books, 1969.
Marshall McLuhan, Understanding Media: The Extensions of Man, MIT Press, 1964.
Christian Metz, Film Language: A Semiotics of the Cinema, Chicago UP, 1974. 
Jean-Louis Baudry, “The Apparatus : Metapsychological Approaches to the Impression of Reality in Cinema”