Space is still available in a few Fall Term 2023 Cinema Studies courses! Read the course descriptions for more information, and check classes.uoregon.edu for updates on seat availability of these courses and others in the major. CINE Majors: Please visit the course list page for the complete list of Fall Term courses and how they satisfy the major.

CINE 198: Workshop: Post Production Workflow (1 credit)
Friday, 9/29-11/3, 10:00-11:50 a.m.
Kevin May

In this six-week workshop, for both beginners and more experienced editors, we will explore nonlinear editing with a focus on Media Management and Workflow. We will examine strategies for media organization and selection, how to efficiently use the tools within the editing software, and methods to efficiently review and refine your work. We will primarily be working in Adobe Premiere, but we will also look at other NLEs such as Final Cut Pro X and Avid Media Composer. By the end of the workshop, with either tutorial media or your own, you will have created and refined a short edit highlighting what you’ve learned in the class. Note: Because this course has special meeting dates, regular academic deadlines do not apply. Please contact the academic department for more information.

Learn more about CINE 198: Post Production Workflow in a few short videos about the class! Instructor Kevin May highlights how the course teaches foundational editing skills; discusses the primary skills and techniques that will be explored in the class; and shares the common issues and problems in editing that the course helps to prevent and solve. 

 Course prerequisites may be waived by contacting the instructor, Kevin May, at kmay2@uoregon.edu.

NEW CLASS!
CINE 399: Special Studies Science Fiction (4 credits) 
Tuesday/Thursday 12:00-1:50 pm
Instructor:  Colin Williamson 

This course offers an in-depth study of the history and theory of science fiction film. With an eye to the global scope of the genre, our focus will be on how science fiction has been called upon to think through questions about a range of topics—from science, technology, and special effects to gender, race, and imperialism—in American cinema and the cultures of which it is a part. Science fiction films experience intense popularity during periods of significant techno-scientific transformation—from the electrification of the United States in the late 19th century to the computerization of life in the late 20th—which in turn fueled innovations in the science and technology of motion pictures. These exchanges between film and culture make the sci-fi film a particularly rich space for experimenting with the real and imagined impacts of cycles of innovation. Drawing on the history of science, art history, literature, and film theory, we will approach science fiction film not simply as a future-oriented and quite fanciful genre, but as a profound and illuminating mode for teaching audiences about what the cinema is and how the nature of techno-scientific innovation bears on enduring concerns about what it means to be human. 

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 408: Workshop: Avid Post-Production (4 credits)
Tuesday/Thursday 12:00-1:50 pm
Kevin May

This course, taught by one of our Avid Certified Instructors, will train students in the industry standard non-linear editing software, Avid Media Composer. The course follows Avid’s curriculum along with additional content focusing on editing theory and practice to give students a complete understanding of the software’s workflow and operations. The class will also strengthen students’ overall editing technique and help them to become proficient in the art form of non-linear editing. In this course, we will focus on media organization, beginning and refining an edit using a variety of tools, and also on numerous effects, including tracking, color correcting, and multilayer effects. Additionally, at the end of the term students will take Avid’s Certification Exam with the 5/10/2023 opportunity to become Avid Certified Users. Previously taught as CINE 425 CINE Prod AVID, CINE 399 Cine Prod AVID, and CINE 408 Wrk Avid; not repeatable.

CINE 420: Advanced Screenwriting (4 credits)
Monday 2:00-4:50 p.m
Masami Kawai

This course is designed to take students through the process of developing a feature film screenplay. The class will combine analytical and practical approaches. We will read critically acclaimed feature scripts to analyze the various techniques used by screenwriters to engage an audience. Building on these insights, students will write a detailed outline of a feature script and the first act of the screenplay. By the end of the course, students will learn how to evaluate story ideas, develop compelling characters, create engaging plots, and hone the skills to give and receive feedback. This class is aimed at students who have completed Beginning Screenwriting and who have written a successful short film script.

CINE 440: Top SE Asian Cinema >GP >IC (4 credits)
Tuesday/Thursday: 2:00 to 3:50 pm
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, 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 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 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 “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.