Explore Cinema Studies Spring 2020 Core Ed Courses

Registration begins February 24, 2020.  Read below for more information and course descriptions!<--break->

Spring 2020 Course Poster

Courses below are open to all majors!

Cinema Studies Majors:  Visit the course list page for the complete list of courses and how they satisfy the major.

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

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 230: Remix Cultures >1 (4 credits)
Monday / Wednesday: 10:00-11:50 a.m. 
Instructor:  Andre 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: From 1960s to the Present >1 (4 credits)
Tuesday 2:00-2:50 p.m.; Thursday 2:00-4:50 p.m.
Instructor:  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 345: Stars >1 (4 credits)
Monday / Wednesday: 2:00-3:50 p.m.
Instructor:  Sergio Rigoletto

In this Core Ed Arts & Letters course, we examine how and why stars are produced and marketed by the entertainment industries, the ways in which they “signify” within media narratives and how they relate to a spectator’s fantasies and desires. What does a star bring to a movie or a TV show? How can understanding stars help us to think about the relation between media, ideology, society and individuality? During the course, we will examine the emergence of the star system, its development and contemporary examples of stardom and celebrity.

CINE 350: Queer European Cinema >1 >GP >IP (4 credits)
Tuesday / Thursday: 4:00-5:50 p.m.
Instructor:  Sergio Rigoletto

The discipline of Cinema Studies—encompassing film, television, and new media—provides rigorous and multifaceted opportunities for students to analyze visual culture from a variety of perspectives. While this course will use gender and sexuality in European cinema and media as its scholarly focus, each class will necessarily utilize a range of critical approaches to analyze the material—including questions about culture, technology, industry, politics, finance, etc. The screening, analysis, and writing skills developed in this course will exercise and sharpen the critical thinking skills of all majors across the university while exposing them to a cinematic culture they may not have access to otherwise.

This course asks students to explore the construction and evolution of gender and sexuality in European cinema. To better contextualize the history of these representational traditions, the course begins with silent film and progresses towards contemporary representations of gender and sexuality in (mainstream) European media.

In this course, students will understand European Cinema in three key ways. First, they will learn how to understand representations of gender and sexuality using formal cinematic analysis. They will also contextualize such representations within a specific European culture and cinema. Finally, they will develop analytical writing about European film that considers: the role of actors/filmmakers in promoting or challenging certain ideas of gender and sexuality; how theoretical traditions—such as feminism, queer, gay liberation—have informed and critiqued the construction of gender and sexuality; and/or the social and political contexts within which representations of gender and sexuality havecirculated.

As a Cinema Studies course, “Gender and Sexuality in European Cinema” satisfies the criteria for group status in Arts and Letters in that it incorporates a range of critical approaches to analyze its material—including questions about culture, technology, industry, politics, finance, etc. The screening, analysis, and writing skills developed in this course will exercise and sharpen the critical thinking skills of all majors across the university while exposing them to a cinematic culture they may not have access to otherwise. By focusing on gender and sexuality through European media, students will be able to think more globally about issues of representation while learning how national identities shape—and are shaped by—films, television, and new media in terms of gender and sexuality.

CINE 365: Digital Cinema >1 (4 credits)
Monday / Wednesday: 10:00-11:50 a.m.
Instructor:  HyeRyoungOk

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 transmedia – 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, 12:00-1:50 p.m.
Instructor: TBD

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 440: Topic: Japanese New Wave >GP >IC (4 credits)
Thursday: 4:00-7:50 p.m.
Instructor:  Dong Hoon Kim

This course is a survey of Japanese New Wave film that brought about a substantial transformation of Japanese cinema in terms of aesthetics, politics and industrial practices in the 1960s. The course examines key new wave filmmakers and films as well as political, social and cultural issues and factors relevant to the rise of a “New Wave” of film-making in Japan in order to critically track the advancement of this major film-historical event in Japanese film history. Screenings include Cruel Story of Youth (1960), The Insect Woman (1963), The Face of Another (1966), Samurai Rebellion (1967), Double Suicide (1969), Heroic Purgatory (1970) and more. No specific knowledge of Japanese is required.

 

 

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