Explore Cinema Studies Fall Term 2023

Explore cinema studies fall term 2023

Interested in learning more about the Cinema Studies major? Explore CINE's fall 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 fall term below. CINE Majors: Please visit the course list page for the complete list of fall 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. 


CINE 111: How to Watch TV > 1 (4 credits)
Tuesday/Thursday 8:00-9:50 a.m.
Instructor TBA

With the rise of viewing practices like “binge-watching,” the increased respectability of “quality” television, new content producers like Netflix and Amazon, and technology that allows you to watch your favorite programs on anything from a 5-inch smart phone to a 50-in HDTV, how we watch television is rapidly changing. It’s easy to get swept up in these changes, but one thing will always remain the same: the need for media literate viewers who can talk, think, and write intelligently about what they see on-screen. This course will teach you how to be a critical and informed television viewer, even as the very concept of television is being redefined. In doing so, you will deepen your understanding of specific television texts by using formal and ideological analysis and you will learn to situate those texts within different contexts of history, industry, technology, and reception. CINE 151M: Intro to Korean Cinema >1 >GP >IC (4 credits) Tuesday 4:00-7:20 p.m. / Dong Hoon Kim

CINE 230: Remix Cultures > 1 (4 credits)
Tuesday/Thursday 10:00-11:50 a.m.
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. and Thursday 2:00-2:50 p.m.
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 360: Film Theory >1 (4 credits)
Monday/Wednesday 2:00-3:50 p.m.
Allison McGuffie

What is cinema? Is it an art form or a medium? What distinguishes cinema from other arts? Does cinema inherently favor certain kinds of content and modes of expression? How can we describe its relationship to reality? What are the social and cultural effects or functions of cinema? What is cinema’s future in the age of new media? This Arts & Letters group-satisfying course introduces students to some of the key authors, debates, and concepts that have motivated cinema scholarship since the early twentieth century. By applying the writings of groundbreaking theorists to films from across the globe, students will explore cinema as an art, ideology, social/cultural institution, and as a technological mediation of “reality.”

CINE 381M*: Film, Media & Culture >1 >GP >IP (4 credits)
Monday/Wednesday 12:00-1:50 p.m.
Allison McGuffie

This course studies works of film and media as representational objects that engage with communities identified by intersectional categories including sex, gender, sexuality, race, ethnicity, nation, class, and ability. It considers historical and contemporary effects of prejudice, intolerance, and discrimination on media and filmmaking practices and modes of reception, as well as alternative strategies that promote cultural understanding and a valuing of diversity. This course actively engages students in the ways the discipline of film and media studies has been shaped by the study of a broad range of identity categories and promotes an understanding of cinema as an art form intimately intertwined with its various social contexts. It enables students to develop scholarly insight into cinematic representational strategies. This section of ENG/CINE 381M is conceptualized around gender on film, engaging pertinent questions in the intellectual history of feminist film theory and its intersectional manifestations. This course is reading and discussion intensive. It is designed for both new and experienced film students with the curriculum including both introductory and advanced content.

CINE 440: Top SE Asian Cinema >GP >IC (4 credits)
Monday/Wednesday 12:00-1:50 p.m.
Ari Purnama

This course introduces you to the exciting, innovative, and unique cinematic arts from filmproducing countries in Southeast Asia. You will be introduced to the themes, narratives, styles, and popular genres explored by filmmakers in Thailand, the Philippines, Indonesia, Malaysia, Singapore, and Vietnam. The course will do so in three ways: Firstly, by showing you a selection of films made within a spectrum of production and distribution contexts—from the big-budget studio genre movies (horror, martial arts, and comedy) to independently produced arthouse 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 440: Top Canadian Cinema >GP >IC (4 credits)
Monday/Wednesday 2:00-3:50 p.m.
Erin Hanna

This course offers a survey of Canadian cinema history with an emphasis on its relationship to politics, culture, aesthetics, and media industries. We will explore the role of cinema in defining national identity, both locally and internationally, while also highlighting approaches to Canadian cinema that capture the diversity of the nation and its cultures. In doing so, we will discuss English language, French Canadian, Indigenous, regional, and diasporic cinemas, and examine the transnational relationship between Canadian and US media cultures.


CINE 399: Special Studies Cinema and Censorship (4 credits)
Tuesday/ Thursday 10:00-11:50 a.m.
Peter Alilunas

In this course, we will explore the connections between the histories, practices, and policies of cinema censorship, and in particular the role that sex and sexualities have played in those histories, practices, and policies. This course will examine significant events in media history as they pertain to these topics—including the development of various technologies; the regulatory responses both internal and external to the film industry; the various laws and court decisions that have defined the legal landscape central to this history; and the changing depictions and representations created by the film industry. We will consider how the film industry has both created and participated in various dynamics of power and privilege, and how those in regulatory positions have exercised their own power and privilege. Topics will include LGBTQ histories and representations, pornography, censorship, feminism, queer theory and media, and the intersections of race, sex, and sexualities. We will also examine historical debates and controversies surrounding these issues, as well as the defining theories and movements within the various academic fields associated with these topics.

CINE 399: Special Studies Studio Ghibli Anime (4 credits)
Thursday 4:00-7:50 p.m.
Dong Hoon Kim

This course surveys the globalization of Japanese animation, focusing specifically on Studio Ghibli, one of the most acclaimed animation film studios. The course will offer an introduction to Studio Ghibli animations and employ them to gain insight into Japanese animation and popular culture. We will also examine a range of factors that have transformed anime into a global cultural form by tracking the rise of Studio Ghibli as a global animation powerhouse and its impact on global animation industry and culture. No prior knowledge of Japan or Japanese is required.

CINE 490: Top Global Blockbusters (4 credits)
Monday/Wednesday 10:00-11:50 a.m.
HyeRyoung Ok

In this topics class, students will analyze a range of texts—including film, television, video/new media, etc—according to the historical/aesthetic/theoretic contexts of their makers or genres. In addition to specific film directors (like “Alfred Hitchcock”) or genres (like “musicals”), topics in 5/10/2023 “Directors and Genres” might address television by featuring key creative personnel (like “Shonda Rhimes”) or programming categories (like “soap operas,” “music videos,” or “sitcoms”). By acquiring and practicing the specialized vocabulary and methods of these analytical frameworks, students will hone their critical engagement with cinema in a way that is specific to the medium.