Vorlesungsverzeichnis
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Lehrveranstaltungen
Cinema and Experience (Seminar)
Dozent/in: Amber Harper
Termin:
wöchentlich | Dienstag | 14:15 - 15:45 | 14.10.2024 - 31.01.2025 | C 14.103 Seminarraum
Inhalt: This course takes its name from Miriam Hansen's 2012 book, Cinema and Experience, which elaborates on the film theories of Siegfried Kracauer, Walter Benjamin, and Theodor Adorno. According to Hansen, these three critics explored “what cinema does, the kind of sensory-perceptual, mimetic experience it enabled, then in what cinema is.” They addressed the cross-contamination of the spectatorial experience of film-viewing and the real-life experience of the audience and considered cinema a vital part of the evolving phenomenology of modern Germany. Kracauer and Adorno also viewed the Hollywood studio system as a “consciousness industry,” which reflected and normalized the status quo values of a ruling class. By contrast, Benjamin approached film more optimistically. He associated audience laughter and the shock effects of film montage as potential catalysts for revolutionary modes of perception. All three critics recognized cinema as a medium that reshapes and comports viewers. They observed how viewers imitate on-screen characters, absorb false memories from film, and seek refuge from reality in the so-called “movie palaces.” The course takes its foundation from classic texts from the Frankfurt School, including Kracauer’s “Film 1928,” Adorno and Max Horkheimer's “The Culture Industry,” and Benjamin's fragment on “Mickey Mouse.” In addition to these formative works, the course discussions will explore the theoretical and analytical contributions of film theorists with similar goals, such as André Bazin and Christian Metz. Furthermore, we will investigate the works of theorists and filmmakers who either influenced or were influenced by the film theories of the Frankfurt School, including Henri Bergson, Sergei Eisenstein, and Alexander Kluge. Keywords: Selected Bibliography: Hansen, Miriam. Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Berkeley: University of California Press, 2012. Bergson, Henri. Excerpt from The Creative Mind: An Introduction to Metaphysics, 2010, 1 pg. [French, 1903] Bergson, Henri. Excerpt from Creative Evolution, 2012, 5 pgs. [French, 1922] Doane, Mary Anne. “Representability of Time,” in The Emergence of Cinematic Time: Modernity, Contingency, the Archive, 2002, 32 pgs. Gunning, Tom. “The Cinema of Attractions: Early Film, its Spectator and the Avant-garde, 1986” in Early Cinema: Space-Frame-Narrative, 1990, 8 pgs. Kracauer, Siegfried. “Film 1928,” from The Mass Ornament, 1995, 15 pgs. [German, 1928] Marcuse, Herbert. “The Affirmative Character of Culture,” in Negations, 1968, 33 pgs. [German, 1937] Adorno, Theodor and Max Horkheimer. “The Culture Industry,” in Dialectic of Enlightenment, 2002, 34 pgs. [German, 1944] Benjamin, Walter. “Mickey Mouse,” in Selected Writing, 1999, 1 pg. [German, 1931] Benjamin, Walter. “Chaplin in Retrospect,” in Selected Writing, 1999, 3 pgs. [German, 1929] Eisenstein, Sergei. “Montage of Attractions,” in The Eisenstein Reader, 1988, 18 pgs. [Russian, 1928] Eisenstein, Sergei. “The Dramaturgy of Film Form (The Dialectical Approach to Film Form),” in The Eisenstein Reader, 1988, 18 pgs. [Russian, 1929] Vertov, Dziga. “Kino-Eye,” in Kino-Eye: The Writings of Dziga Vertov, 1984, 19 pgs. [Russian, 1927] Michelson, Annette. “From Magician to Epistemologist: Vertov’s Man with a Movie Camera,” 1972, 3 pgs. Lacan, Jacques. “The Mirror Stage,” 2006, 11 pgs. [French, 1949] Metz, Christian. “Identification, Mirror,” in Psychoanalysis and Film: The Imaginary Signifier, 1982, 16 pgs. [French, 1977] Ma, Jean. “Discordant Desires, Violent Refrains: La Pianiste,” Grey Room, 2007, 21 pgs. Bazin, André. “The Ontology of the Photographic Image,” 1960, 6 pgs. [French, 1945] Kracauer, Siegfried. “The Redemption of Physical Reality,” in Theory of Film, 1960, 12 pgs. Rosen, Philip. “Detail, Document, and Diegesis in Mainstream Film,” in Change Mummified: Cinema, Historicity, Theory, 2001, 54 pgs. Nichols, Bill. “Irony, Cruelty, Evil (and a Wink) in The Act of Killing,” 2014, 4 pgs. Kracauer, Siegfried. “On the Border of Yesterday,” in The Mass Ornament, 8 pgs. [German, 1932] Kracauer, Siegfried. “Introduction,” in History, The Last Things Before the Last, 1969, 14 pgs. White, Hayden. “The Modernist Event,” in The Persistence of History: Cinema, Television, and the Modern Event, 1992, 19 pgs. Huyssen, Andreas. “An Analytic Storyteller in the Course of Time,” in October, 1988, 13 pgs. Kluge, Andreas. “Storytelling is the Representation of Differences,” in Difference and Orientation: An Alexander Kluge Reader, 2019, 28 pgs. [German, 2001] Recommended Films: Edison Studios. “Strongman.” Kinetoscope, c. 1894. Louis, Lumiére. L’Arroseur Arrosé [The Sprinkler Sprinkled], 1895. Melies, George. Le Voyage dans la Lune, 1902. Chaplin, Charlie. Modern Times, 1936. Hathaway, Harry. True Grit, 1969. Coen, Joel, and Ethan Coen. True Grit, 2010. Vertov, Dziga. The Man with a Movie Camera, 1929. Eisenstein, Sergei. Strike. 1925. Eisenstein, Sergei. Battleship Potemkin, 1925. Bergman, Ingmar. Persona, 1966. Haneke, Michael. The Piano Teacher, 2001. Ackerman, Chantal. Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, 1975. Huyghe, Pierre. The Third Memory, 2000. Oppenheimer, Josh. The Act of Killing, 2012. Tarkovsky, Andrei. Nostalghia, 1983. Kluge, Alexander. Brutality in Stone, 1961. Kluge, Alexander. Miscellaneous News, 1986. Marker, Chris. Grin without a Cat, 1977.
Geschichte der Künstlichen Intelligenz (Seminar)
Dozent/in: Christoph Görlich
Termin:
wöchentlich | Donnerstag | 16:15 - 17:45 | 14.10.2024 - 31.01.2025 | C 12.101 Seminarraum
Inhalt: Sie ist in aller Munde, beherrscht die Podiumsdiskussionen und Forschungsagenden und sie nimmt einen festen Platz in der kollektiven Imagination technologischer Zukünfte ein: »die Künstlicher Intelligenz«. Doch was ist die Geschichte bzw. sind die Geschichten, die Herkünfte der ‚Künstlichen Intelligenz‘ – vor allem bevor dieser Singular auftrat? Was also war künstliche Intelligenz vor der »Künstlichen Intelligenz«? Was sind die Ideen, die Vorstellungen, die Krisen – und nicht zuletzt die gesellschaftlichen Verhältnisse, aufgrund welcher jene Entwicklungen geschahen, die sehr viel später erst in das Bild einer »Künstlichen Intelligenz« aufgingen? Das Seminar soll sich diesen Fragen in einer Verbindung aus Wissens-, Medien- und nicht zuletzt auch Sozialgeschichte dessen, was später »die« »Künstliche Intelligenz« gewesen sein wird, widmen. Der Faden lässt sich in der frühen Neuzeit (oder im Altertum) aufnehmen, die Geschichte geht über das neunzehnte Jahrhundert und kristallisiert sich im zweiten Drittel des zwanzigsten Jahrhunderts in der Kybernetik – und sie geht bis heute. Zu sehen sind: Altäre, Kosmologien, mechanische Enten, Webstühle, Flugabwehrgeschütze, Froschgehirne (keine echten), verkleidete Staubsauger, Großrechenanlagen, Arbeiter an Maschinen und Tabellen…