Interested in learning more about the Cinema Studies major? Explore CINE's winter term CORE ED courses below. Cinema Studies offers many courses that are open to all majors and satisfy Core Ed requirements.

Already a Cinema Studies major? Learn more about the interesting TOPICS courses offered winter term below. Visit the course list page for the complete list of winter courses and how they satisfy the major.

Did You Know? Cinema Studies now offers both B.A. and B.S. degree options! Cinema Studies is building connections across new disciplines and is now offering both a Bachelor of Arts and Bachelor of Science degree option to engage with students wherever their academic training is taking them. Whether you're an IRES major, business major, or studying in a STEM field, consider Cinema Studies as a double major to tell your story at the intersection of science and cinema. To declare the major, simply submit the brief online form. 

Priority registration begins November 14, 2022.

CINE 110M*: Intro to Film & Media > 1 (4 credits)
Tuesday/Thursday, 8:00-9:50 a.m. 
Instructor: Jiesha Stephens

People respond to movies in different ways, and there are many reasons for this. We have all stood in the lobby of a theater and heard conflicting opinions from people who have just seen the same film. Some loved it, some hated it, some found it just OK. Perhaps we’ve thought, “What do they know? Maybe they just don’t get it.” Disagreements and controversies, however, can reveal a great deal about the assumptions underlying these various responses. If we explore these assumptions, we can ask questions about how sound they are. Questioning our own assumptions, and those of others, is a good way to start thinking about movies. In this course, we will see that there are many productive ways of thinking about movies and many approaches we can use to analyze them. These approaches include the study of narrative structure, cinematic form, authorship, genre, stars, reception and categories of social identity. Overall, the goal of this course is to introduce you to the basic skills necessary for a critical knowledge of the movies as art and culture.This course will satisfy the Arts and Letters group requirement because it introduces students to modes of inquiry that have defined the discipline of film studies.These include such diverse approaches as studying narrative structure, authorship, genre, and reception. By requiring students to analyze and interpret examples of film and media using these approaches, the course will promote open inquiry into cinematic texts and contexts from a variety of perspectives. Previously taught as ENG 110; not repeatable.

CINE 230: Remix Cultures >1 (4 credits)
Monday/Wednesday, 10:00-11:50 a.m.
Instructor:  André Sirois

In “Remix Cultures,” students learn the historical, practical, and critical views of “intellectual property” (IP) by analyzing everything from the UO mascot to Jay-Z.The course highlights how “ideas” are part of a remix continuum: new ideas often remix the great ideas that preceded them and will themselves be remixed in the future. Students will deconstruct the relationship between politics and economics and interrogate the everyday ways that their lives are governed by (and often break) IP laws. As a group-satisfying Arts and Letters course, Remix Cultures provides students with a broad yet fundamental knowledge of how “IP” and “innovation” impact their lives: students of all majors engage with intellectual properties daily and may seek professions in fields that valorize intellectual property. By asking all students to actively and critically engage consumer media culture as intellectual property, the course provides a better understanding of how collaborative efforts are governed by laws that typically value and reward a singular author/genius.

CINE 266: History of Motion Picture II: From 1927 to the 1960s >1 (4 credits)
Tuesday, 2:00-4:50 p.m. / Thursday, 2:00-2:50 p.m.
Instructor:  Peter Alilunas

CINE 266 (previously ENG 266) is the second in a three-part chronological survey of the evolution of cinema as an institution and an art form. CINE 266 covers the post-World War II period through the 1950s.The primary texts for the course are the films themselves, but supplementary readings will also be assigned.The aim of the course is to develop interpretive skills relevant to the study of film by examining the history of major movements in Hollywood and world cinema. As a broad introduction to interpretive, theoretical, and institutional issues that are central to the study of film, CINE 266 satisfies the university’s Group Requirement in the Arts and Letters category.The courses in motion picture history, CINE 265, 266, and 267 may be taken individually or as parts of an integrated series. Previously taught as ENG 266; not repeatable.

CINE 268: U.S. Television History >1 (4 credits)
Monday/Wednesday, 2:00-3:50 p.m.
Instructor:  Erin Hanna

This Arts & Letters course analyzes the history of television, spanning from its roots in radio broadcasting to the latest developments in digital television.To assess the many changes across this historical period, the course addresses why the U.S. television industry developed as a commercial medium (compared to television industries across the globe), how television programming has both reflected and influenced cultural ideologies through the decades, and how historical patterns of television consumption have shifted due to new technologies and social changes. By studying the historical development of television and assessing the industrial, technological, political, aesthetic and cultural systems out of which they emerged, this course helps you better understand the catalysts responsible for shaping this highly influential medium into what you view today. In this process, students will gain a basic understanding of various approaches used to analyze television history, including industrial history, technological history, formal history, reception history, and social/cultural history.

CINE 365: Digital Cinema >1 (4 credits)
Monday/Wednesday, 12:00-1:50 p.m.
Instructor:  HyeRyoung Ok

What is cinema in digital age? This class examines the impact of digital media technologies on diverse dimensions of cinematic experience encompassing the production, delivery, and reception.Through the readings and screenings, we will explore the way in which cinema as cultural institution has both shaped and reflected the formal and institutional development of diverse digital media technologies–computer-generated imagery, digital video, games, DVDs, portable screen interfaces, and social media, etc.Themes of the class will include but are not limited to: discourse of digitality, digital production/reception, digital aesthetics, digital visual effects and spectacle, media convergence, expanded cinema and digital arts, web/mobile cinemas and participatory digital culture.

CINE 381M*: Film, Media & Culture >1 >GP >IP (4 credits)
Monday/Wednesday, 10:00-11:50 a.m.
Instructor:  Allison McGuffie

This course studies works of film and media as aesthetic objects that engage with communities identified by class, gender, race, ethnicity, and sexuality. It considers both the effects of prejudice, intolerance and discrimination on media and filmmaking practices and modes of reception that promote cultural pluralism and tolerance. It historicizes traditions of representation in film and media and analyzes works of contemporary film and media to explore the impact and evolution of these practices. Classroom discussion will be organized around course readings, screenings and publicity (interviews, trailers, etc.). Assignments will supplement these discussions by providing opportunities to develop critical/analytical/evaluative dialogues and essays about cinematic representation. CINE 381M satisfies the Arts and Letters group requirement by actively engaging students in the ways the discipline of film and media studies has been shaped by the study of a broad range of identity categories, including gender, sexuality, race, ethnicity, and class. By requiring students to analyze and interpret cinematic representation from these perspectives, the course will promote an understanding of film as an art form that exists in relation to its various social contexts. CINE 381M also satisfies the Identity, Pluralism, and Tolerance multicultural requirement by enabling students to develop scholarly insight into the construction of collective identities in the mass media forms of film and television. It will study the effects of prejudice, intolerance and discrimination on mainstream media. Students will study the ways representational conventions, such as stereotypes, have resulted from filmmaking traditions that have excluded voices from varying social and cultural standpoints.The course will also consider filmmaking practices and modes of reception that promote cultural pluralism and tolerance. Previously taught as ENG 381; not repeatable.

CINE 410: Media Industry & Fans
Monday/Wednesday, 10:00-11:50
Instructor:  Erin Hanna

While it has become increasingly difficult to delineate between practices of production and consumption in the digital age, it is important to remember that media industries and fans have long been deeply intertwined. In order to better understand our current moment, this course will examine texts and contexts from the 20th and early 21st centuries that illuminate the complexities and power imbalances in the relationship between industry and fandom. In the process, students will become more familiar with key histories, concepts, and questions in media industry studies and fan studies research.

CINE 410: Southeast Asian Cinema
Tuesday/Thursday, 4:00-5:50 p.m.
Instructor:  Ari Purnama

This course is a survey of the cinematic arts from film producing countries in Southeast Asia.You will be introduced to the themes, narratives, styles, and popular genres explored by filmmakers in Thailand, the Philippines, Malaysia, Singapore, and Indonesia.The course will do so in three ways: Firstly, by showing you a selection of films made within a spectrum of production and distribution context—from the big-budget studio-financed movies to independently produced festival films; secondly, by showcasing the works of women and LGBTQ filmmakers; thirdly, by making you engaged with the scholarly literature produced in the field of Southeast Asian cinema studies. While the course title includes the label “Southeast Asia,” we will examine the concept of regional cinema through our discussion of the films and readings with the goal for us to be able to answer the question: Is there such a thing as Southeast Asian cinema? All films will have English subtitles. No specific prior knowledge of cultures, languages, and countries in Southeast Asia or prerequisite is required.

CINE 410: Transnational Cinematography (4 credits)
Tuesday/Thursday, 12:00-1:50 p.m.
Instructor:  Ari Purnama

How does cinematography work as an art and a craft practice across cultures and film industries? In this course, we will explore this primary question to obtain a more in-depth insight into cinematography (lighting, camera movement, framing & composition, and color) as a visual storytelling device and medium of expression with its set of conventions, aesthetic functions/effects, and culturally-specific meanings. In this course, we will also study the artistry of cinematographers working in various cinematic contexts and their creative collaboration with film directors. In essence, this course aims to show you that there is more to cinematography than merely a matter of cameras, lenses, and technical wizardry. We will survey and discuss cinematographic works from various cinematic contexts, such as Germany, France, the UK, Japan, China, Poland, Mexico, and the US. By applying a transnational perspective to cinematography in this course, you will get a sense of how specific cinematographic techniques develop across industries, nations, and cultures. Through the readings, viewings, in-class discussions, simple creative exercises, and a video essay assignment, you will come away with a critical understanding that the role of cinematography is more complex in the cinematic arts than what is commonly perceived: a technical domain. In other words, by engaging with the course material, you will discover the realm of aesthetic possibilities that cinematography offers and the creativity of the cinematographers working across the spectrum of filmmaking and industrial contexts.

CINE 425: Top Sound for Screens
Tuesday/Thursday, 12:00-1:50 p.m.
Instructor:  André Sirois

In this class, you’ll learn how to hear, listen, make, and think about sound and audio for film, television, and video games. You will study acoustics and sound physics and apply that knowledge to field recording, Foley work, ADR, sound effect production, and mixing. Students will learn about recording techniques for cinematic production, specifically booming and mixing on location, as well as multiple mic and plant mic techniques on set. In the course, we will also consider sound theory and analysis by deconstructing examples of cinematic sound design in order to enhance actual production skills.

CINE 490: Top Exploitation Cinemas
Tuesday/Thursday, 10:00-11:50 a.m.
Instructor:  Peter Alilunas

The genre known as exploitation cinema has historically been a site of intersecting cultural interests, where moral, legal, and regulatory discourses exist alongside fan activities, cult interest, and ritualized movie-going habits. The wide-ranging content in this genre often deliberately offends its audience even as it entertains it, leading to a paradoxical set of anxiety-ridden circumstances somewhat unique in film history. This course examines American exploitation films beginning in the 1930s and continuing to the present day from perspectives of the industry, the audience, and the film texts. Particular attention will be paid to recurring themes of youth, family, race, class, and sexuality, and the anxiety and fascination accompanying them, as well as issues of taste, fandom, and judgment. Ultimately this course works toward a fuller understanding of mainstream cinemas, which have often copied or reflected exploitation cinemas even as they have maintained an anxious distance.

CINE 490: Top Films of Ang Lee
Tuesday, 4:00-7:50 p.m.
Instructor:  Dong Hoon Kim

This course will examine the films of Ang Lee whose influence go beyond national, industrial and cultural boundaries. Due to his work’s global appeal and the incongruity across his films, Ang Lee is often labeled as a “transcendent,” “transnational” or “postmodern” filmmaker whose work raises new critical questions for many theories of film studies. In this class we will inquire into Ang Lee’s films with the theoretical framework of film authorship. The course will beginwith tracing the origin and development of the theory of film authorship and the role it played in shaping the field of film studies. While employing different approaches and theorizations of film authorship in analyzing formal elements, narrative strategies and subject-matters that define Lee’s work, we will also try to expand our sense of film authors by examining them not simply as “authors” who deftly encode their artistic visions into their works but as cultural “signifiers” that influence film and culture industries and circulate across the national boundaries.

CINE 407: Sem Honors Thesis 1 (2 credits)
Wednesday, 4:00-5:50 p.m.
Instructor:  Priscilla Ovalle

Honors Thesis I is offered winter term and will support your research or creative project planning, research, and writing to provide you with a solid plan and early draft of your Thesis Project. Read the website page for information on how to enroll. Feel free to email Prof. Ovalle with any questions or concerns about the proposal, GPA, and/or eligibility.

 (Note: Honors Thesis II is offered spring term and will help students finalize their research or creative project in preparation for a spring defense.)