Explore Cinema Studies Winter Term 2024

Explore Cinema Studies Winter Term Core Ed and Topics Courses

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. CINE Majors: Please 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. 


CINE 110M*: Intro to Film & Media > 1 (4 credits)
Tuesday/Thursday 2:00-3:50 p.m.
Colin Williamson

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)
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 265: History of Motion Picture I >1 (4 credits) Monday 2:00-2:50 p.m., Wednesday 2:00-4:50 p.m. / Michael Aronson C

CINE 265: History of Motion Picture I >1 (4 credits)
Monday 2:00-2:50 p.m., Wednesday 2:00-4:50 p.m.
Michael Aronson

CINE 265 (Previously ENG 265) is the first in a three-part chronological survey of the evolution of cinema as an institution and an art form. CINE 265 moves from the origins of cinema in the late 19th century through World War II. 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 265 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 sequence. Previously taught as ENG 265; not repeatable.

CINE 268: US Television History >1 (4 credits)
Monday/Wednesday 2:00-3:50 p.m.
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 381M: Film, Media & Culture >1 >GP >IP (4 credits)
Monday/Wednesday 10:00-11:50 a.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 399: Sp St American Animation (4 credits)
Tuesday/Thursday 12:00-1:50 p.m.
Colin Williamson

This course explores how American animated films by everyone from Winsor McCay in the early 1900s to Walt Disney and Tim Burton have shaped and been shaped by national and international visual cultures. Deeply concerned with the labor and vision of individual artists, American animation reflects essential questions about the medium’s potential as an art of movement and transformation, an art of time, and an art of dreams, all of which are wrapped up in broader discourses on American ideals and ways of life. Our goal is to understand how animators have grappled with these questions using innovative formal and stylistic techniques that bring inanimate materials – drawings, puppets, and other objects – to life. To do this we will examine the many contexts that have shaped a wide range of films, from early hand-drawn animations and experimental films to visual music films, realist animations, and contemporary computer animations. In the process, we will consider how American animated films intersect with the politics of race, class, and gender, as well as with other arts and media, including dance, painting, and comics.  

CINE 410: Cinema Careers (4 credits)
Tuesday/Thursday 12:00-1:50 p.m.
Alissa Phillips

Ever wonder what a Script Super does? A Best Boy? Dolly Grip? Have any idea what it means to Gaff? The world of filmmaking is vast – it’s not all directors, actors and screenwriters. This course bridges the gap between education and employment in narrative production by helping students identify career paths possible with a Cinema Studies degree. You will get a high-level overview of the entertainment business and its intricacies. You will also learn how to get your first job/internship as well as finish the course with a polished resume and cover letter. Additionally you will create pitches, do coverage, assemble creative decks, participate in a story meetings and much more. Previously taught as CINE 399 Sp St Internship Devel, CINE 399 Sp St Intern/Job Srch, and as 4 credits; not repeatable. Also previously taught as CINE 415 Cinema Careers (2 credits); not repeatable.

CINE 410: Media Industries & Fans (4 credits)
Monday/Wednesday 10:00-11:50 a.m.
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: Transnational Cinematography (4 credits)
Tuesday/Thursday 2:00-3:50 p.m.
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 411M: U.S. Film Industry (4 credits)
Monday/Wednesday 12:00-1:50 p.m.
Janet Wasko

This course traces the past and present of the U.S. film industry. We examine key moments in the development of Hollywood, including the consolidation and restructuring of the major movie studios, the film industry’s relationship to TV and the Internet, the constant need to innovate through new technologies, and the eventual formation of global conglomerates that now rule the circulation of film and media. The course mixes lectures and discussions of critical events with screenings of films to reveal the impact of industry strategies on creative decisions. Throughout, we will consider concepts such as ownership, regulation, and standardization vs. innovation to understand one of the most powerful media industries in the world. Previously taught as J 412 Top US Film Industry; not repeatable.

CINE 425: Top Sound for Screens (4 credits)
Tuesday/Thursday 12:00-1:50 p.m.
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 440: Top Transnational Asian Media
Monday/Wednesday 2:00-3:50 p.m.
HyeRyoung Ok

This course explores border crossing in the Asia Pacific across a diverse range of popular media – film, television, animation, pop music, gaming and new media. Particularly, we will be focusing on films and popular media from East Asian countries. Throughout history, the major East Asian cinemas and popular media of Japan, China (Hong Kong, P.R.C.,Taiwan), and South Korea have long engaged in intra-regional and transnational exchanges—of personnel, capital, and influence. Shared cultural values, intertwined histories, and new communication technologies have led to what is called as Trans-Asian cinema and popular culture. First of all, we will examine the diverse aspects of transnational dynamics in the production, circulation, and reception of popular films and media from East Asia since the mid twentieth century. But we will also explore their links to popular media of Southeast Asia (here, Thailand, the Philippines and Singapore) and the wider context of the Asia Pacific. A closer examination of transnational dimensions will illuminate the complex and heterogeneous ways in which the concept of ‘national cinema and media’ is challenged and the relationship between the global and the local is reconfigured.

CINE 490: Top Exploitation Cinemas (4 credits)
Monday/Wednesday 10:00-11:50 a.m.
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 anxietyridden 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.