1967年，法國的馬克思主義思想家居伊·德波(Guy-Ernest Debord)，出版了著名的《景觀社會》一書，該書指出在晚期資本主義中，社會關係已經從馬克思所指出的：「商品拜物教將人與人的關係，轉變為物與物的商品交換關係。」這一基礎上，進一步向前發展到了景觀與景觀的關係。所謂的「景觀(Spectacle)」，泛指一切能經由刺激主體視覺對外部環境所進行的感知，並由此感知影響主體對外部世界的認識、反應與行為模式之人造物和空間布置。除了日常用語中所說的「自然景觀」、「城市景觀」之外，景觀也包含了當代社會空間中的各種裝飾擺設、展覽、廣告看板，日常生活中人們的衣著、言行等等所呈現出的各種形象，以及尤為重要的，從攝影技術發明開始，捕獲了人們最多視線的電影銀幕、電視、電腦、手機等等，各種透過螢幕展現在人們眼前的景觀。
雖然德波所創立的情境主義國際(Situationist International)已於1972年解散，但此一景觀社會綱領已對往後的大眾傳播、空間地理學、視覺文化研究等領域產生了巨大的影響，開闢了新的重要典範(paradigm)。此外，布希亞(Jean Baudrillard)於1968年出版了《物體系》一書，詳細考察了消費社會中，由物件與人所構成的社會網絡，如何為了適應消費資本主義社會的高速變遷，並解決其中功能性與象徵意義之間的矛盾，而使越來越多的人事物不得不捨棄沉重的物質功能性面向，往符號象徵性的表觀方向演變，這導致了消費社會最後不免的走向外在形象即是本質的「擬像(simulacra)」時代的知識型(epistemes)。雖然擬像與符號生產理論是在布希亞往後《象徵交換與死亡》以及《符號政治經濟學批判》中才趨於完善，但這些布希亞著名的概念與觀點其實在《物體系》中就可見端倪，從《物體系》中對日常生活的詳細考察開始，才能更具體的了解擬像、仿真(simulation)與符號化的社會趨勢。
因此這堂課將主要研讀居伊·德波的《景觀社會》與布希亞《物體系》這兩本重要著作。但在此之前，本堂課將會先從現代景觀與影像分析的先驅，班雅明(Walter Benjamin)探討城市景觀與攝影的兩篇文章開始，之後才會開始閱讀《景觀社會》與《物體系》，了解今天這個亦真亦假，事物往往稍縱即逝的景觀社會，是如何誕生和發展的?這樣的社會現實對我們生活在其中的個體又有什麼樣的影響?以及面對這些擬像，人們又是如何選擇信賴/不信賴什麼的?最後，這堂課將會閱讀日本學者東浩紀的《動物化的後現代》，了解怎麼運用布希亞的理論，去分析動畫的人設、故事情節、二次創作、cosplay……等等，以及這些由數據、訊息以及資料庫所構成的影像與現代人之間的關係。
In 1967, French Marxist thinker Guy-Ernest Debord published the famous book "The Society of the Spectacle", which pointed out that in late capitalism, social relations have changed from what Marx pointed out: " Commodity fetishism transforms the relationship between people into a commodity exchange relationship between things.” On this basis, it further develops into the relationship between landscapes. The so-called "spectacle" generally refers to all man-made objects and spatial arrangements that can stimulate the subject's vision to perceive the external environment, and thus influence the subject's understanding, reaction and behavioral patterns of the external world. In addition to "natural landscape" and "urban landscape" in daily language, landscape also includes various decorative furnishings, exhibitions, advertising billboards in contemporary social spaces, as well as the clothing, words and deeds of people in daily life, etc. Various images, and most importantly, since the invention of photography technology, movie screens, televisions, computers, mobile phones, etc., which have captured the most people's attention, all kinds of landscapes displayed in front of people's eyes through the screen.
Although the Situationist International founded by Debord was disbanded in 1972, this spectacle society program has had a huge impact on future fields of mass communication, spatial geography, visual culture research and other fields, opening up a new A new important paradigm. In addition, Jean Baudrillard published the book "The System of Objects" in 1968, which examined in detail how the social network composed of objects and people in the consumer society adapts to the rapid changes of the consumer capitalist society. To resolve the contradiction between functionality and symbolic meaning, more and more people and things have to abandon their heavy material functional aspects and evolve in the direction of symbolic appearance. This has led to the inevitable final trend of consumer society. The external image is the epistemes of the episteme era of the essential "simulacra". Although the theory of simulacra and sign production was only perfected in Buschia's "Symbolic Exchange and Death" and "Critique of the Political Economy of Signs", these famous concepts and views of Buschia were actually published in "The System of Objects" We can see the clues in it. Starting from the detailed examination of daily life in "The System of Objects", we can have a more concrete understanding of the social trends of simulacra, simulation and symbolization.
Therefore, this class will focus on the two important works of Guy Debord's "The Society of the Spectacle" and Buschia's "The System of Objects". But before that, this class will start with two articles by Walter Benjamin, the pioneer of modern landscape and image analysis, discussing urban landscape and photography, and then start reading "The Society of the Spectacle" and "The System of Objects" , understand how today’s spectacle society, where things are both true and false, and things are often fleeting, was born and developed? What impact does this social reality have on the individuals we live in? And in the face of these simulacra , how do people choose to trust/distrust? Finally, this class will read "Animalized Postmodernity" by Japanese scholar Hiroki Azuma, and understand how to use Busia's theory to analyze the character design and animation of animation. Storylines, secondary creations, cosplay, etc., as well as the relationship between these images composed of data, information, and databases and modern people.
Walter Benjamin 著，劉北成 譯，2013，《巴黎，19世紀的首都》。北京：商務印書館
Walter Benjamin 著、Hannah Arendt 編，張旭東、王班 譯，2008，《啟迪──本雅明文選》。北京：三聯
Guy-Ernest Debord 著，張新木 譯，2022，《景觀社會》。南京：南京大學出版社
Jean Baudrillard 著，林志明 譯，2018，《物體系》。台北：麥田
東浩紀 著，褚炫初 譯，2012，《動物化的後現代：御宅族如何影響日本社會》。台北：大藝
Walter Benjamin, translated by Liu Beicheng, 2013, "Paris, Capital of the 19th Century". Beijing: The Commercial Press
Written by Walter Benjamin, edited by Hannah Arendt, translated by Zhang Xudong and Wang Ban, 2008, "Enlightenment - Selected Works of Benjamin". Beijing: Sanlian
Written by Guy-Ernest Debord, translated by Zhang Xinmu, 2022, "Society of the Spectacle". Nanjing: Nanjing University Press
Written by Jean Baudrillard, translated by Lin Zhiming, 2018, "System of Objects". Taipei: Wheat Field
Written by Dong Haoji, translated by Chu Xuanchu, 2012, "Animalized Postmodernity: How Otaku Influences Japanese Society". Taipei: Dayi
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 出席出席 Attend |
20 | 學共有18次課程，將會進行5次隨機點名，每次4分，不可補點，課堂小組討論時若整組未到，則整組組員額外扣4分。 |
| 小組提問小組提問 group questions |
26 | 除電影賞析的進度之外，每周一老師會發佈一篇該周指定閱讀範圍的內容概要，請各組閱讀完文本後針對該周內容想一個簡短的問題，可以是書中看不懂的段落，或是延伸發想的提問，留言在當周老師寫的概要下方。共13次，每次滿分2分。 |
| 小組發言小組發言 group speech |
10 | 每次課堂小組討論後發言整組可得1分，每堂課不論發言次數整組最多得1分。 |
| 組員互評組員互評 Team members evaluate each other |
14 | 請每位同學根據這個學期，課堂上的小組討論、每周作業的參與積極度......等等，給每一位組員(包括自己)打一個0到14分的分數，評分不需向組員公開。學期結束與期末報告一同繳交給老師，所有組員評分的平均即為個人得分。 |
