Interested in learning more about the Cinema Studies major? Explore CINE's spring 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 spring term below. CINE Majors: Please visit the course list page for the complete list of spring 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 230: Remix Cultures > 1 (4 credits) 
Tuesday/Thursday 12:00-1:50 p.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 267: History of Motion Picture III >1 (4 credits)  
Tuesday 2:00-2:50 p.m., Thursday 2:00-4:50 p.m.
Sangita Gopal  

CINE 267 is the third in a three-part chronological survey of the evolution of cinema as an institution and as an art form from its origin, covers the time period from the "end" of the studio system in the 1960s to the present day. It may be taken individually or as part of a series (with CINE 265 and 266) designed to provide a broad introduction to interpretive, theoretical, and institutional issues central to the study of film and media. The aim of the course is to develop interpretive and critical skills relevant to the study of film by examining the history of both Hollywood and world cinema. Like the other two courses in the series, CINE 267 enables students to engage with major issues within the field, including star studies, the film industry, and censorship and 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 267; not repeatable. 

CINE 365: Digital Cinema >1 (4 credits)  
Monday/Wednesday 4:00-5:50 p.m.
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 2:00-3:50 p.m. / Allison McGuffie  
Tuesday/Thursday 2:00-3:50 p.m. / Stephen Rust  

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.  

CINE 399: Sp St Cult TV (4 credits)  
Monday/Wednesday 10:00-11:50 a.m.
Erin Hanna

This class examines the history, production, and consumption of cult TV, drawing on examples from network era programming through to the current surge in “quality” television production. Historically, the term “cult” has been used to describe media objects attracting a passionate and devoted fan-base, often outside of the mainstream. In recent years, however, this cult mode of engagement has become an increasingly visible and widely accepted part of television and production and consumption. This class will explore these changing definitions by considering how cult television functions textually, industrially, and culturally, across a variety of historical and social contexts.  

CINE 399: South Park & Society (4 credits)  
Monday/Wednesday 10:00-11:50 a.m.
André Sirois

This class uses the animated cartoon as the launch point for understanding the representation of social issues in the media and critical cultural and social theories. In this course we will examine how South Park has represented or parodied labor/class, race, religion, capitalism, the media, gender, sexuality, patriotism, politics/democracy, celebrity, censorship, PC culture, etc. Because each episode was made the week before it was aired, we will also use the cartoon to examine the specific historical moment and social issues of that time in order to better understand the significance of each episode and its social critique.  

CINE 440: Top Third Cinema  
Monday/Wednesday 12:00-1:50 p.m.
Allison McGuffie

This course introduces students to the history and theory of Third Cinema, a radical, revolutionary film practice including New Latin American Cinema movements of the 1960s and 70s, politically engaged African cinema, and affiliated films from South and Southeast Asia. Anyone interested in expanding their filmmaking practice or understanding culture through cinema will enjoy learning about the important, exciting innovations of Third Cinema issues and aesthetics. No prior knowledge of the subject is expected.  

CINE 440: Top Japanese New Wave
Tuesday 4:00-7:50 p.m.
Dong Hoon Kim

This class surveys Japanese New Wave film that triggered a substantial transformation of Japanese cinema in terms of aesthetics, politics, and industrial practices in the 1960s. In addition to offering an introduction to key new wave filmmakers who went on to break away from studio system and conventional film languages, the course interrogates political, social, and cultural issues relevant to the rise of a “New Wave” of filmmaking in Japan in order to critically track the advancement of this major film-historical event in Japanese film history. While exploring Japanese New Wave film’s varied impacts on post-war Japanese society, film and media industry, and arts and culture, the course also examines such theoretical and historiographical questions as media and politics, film authorship and spectatorship, intermediality, identity politics, and the concept of national cinema. No knowledge of Japanese or Japanese film is required.

CINE 440: Top Complex Cinema  
Monday 4:00-7:50 p.m. 
Ari Purnama

What binds Memento, Inception, Interstellar, Eternal Sunshine of the Spotless Mind, Old Boy, and Run Lola Run together? That's right! These are narratively complex films. Over the past three decades, we've seen the emergence of complex storytelling films populating our cinema culture. These films reject the convention of classical narrative structures by foregrounding non-linearity, exploring time loops, and distorting the reality of time and space. While these films can be challenging to watch as they are riddled with gaps, impossibilities, and puzzles, we are often attracted to them because of these aspects that demand our cognitive and affective investment. Although these complex films have roots in European art cinema and avant-garde/experimental filmmaking traditions, they manifest palpably in mainstream popular cinema between the 1990s and 2010s. Hollywood is not the only institution that produces complex popular films. The phenomenon is global, as we can find complex narrative films across film industries—from Germany to South Korea. In this course, we will explore the storytelling designs, stylistic strategies, and impact on viewers that these complex films demonstrate. The big questions we will tackle are: What makes these films 'challenging' but 'rewarding' simultaneously? How do the filmmakers tell the stories in a complex way but manage to keep us engaged? What 'creative' lessons can we learn from these complex narrative films?