Registration begins November 23, 2020.  Read below for more information and course descriptions!

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 110M*: Intro to Film & Media > 1 (4 credits)
Monday/Wednesday, 8:15-9:45 a.m.
Instructor TBD

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 151M**: Intro to Korean Cinema >1 >GP >IC (4 credits)
Tuesday, 4:15-5:45 p.m.
Dong Hoon Kim

This course is a survey of Korean national cinema, from the earliest days of the medium to the present. By exploring a range of issues that have come to define the concept of Korean national cinema, this course will not only serve as an introduction to Korean cinema, but more importantly as an in-depth case study that challenges and expands the discussions of national cinema. Films will be screened with English subtitles. No specific knowledge of Korea/Korean or prerequisite is required. Previously taught as KRN 151; not repeatable

CINE 230: Remix Cultures >1 (4 credits)
ONLINE
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/Thursday, 2:00-3:00 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 268: U.S. Television History >1 (4 credits)
Monday/Wednesday, 10:15-11:45 a.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 340: Production Studies >1 (4 credits)
Tuesday/Thursday, 2:15-3:45 p.m.
Daniel Steinhart

This course examines the development of production practices and the lived realities of film and television production workers. Our particular focus is not on the production of culture but rather on the culture of production and the ways that production work itself is a meaningful cultural practice. Special emphasis will be placed on analyzing the imagery and rhetoric of production found in making-of documentaries and trade stories. Using various case studies, students will consider not only “above-the-line” personnel, namely film directors and TV showrunners, but also "below-the-line" workers, such as casting agents and camera crews. Throughout, we will take up a range of issues that impact production work, including labor, gender, craft practices, and technological change. 

CINE 370: Narrative Production II >1 (4 credits)
Monday/Wednesday, 12:15-1:45 p.m. / Masami Kawai

Narrative Production II builds on Intro to Production (Narrative Production I) and provides students with a deeper understanding of the creative choices and effects of camera lenses, composition, editing, sound, rhythm, and narrative. Through a series of short film exercises and in-class critiques, students will explore the expressive possibilities of cinema to better realize their vision. They will study readings and films that illustrate particular techniques, put into practice these techniques, and then critique each others’ work to integrate theory into practice. By the end of this course, students will have learned problem-solving strategies. Ultimately, they will acquire the skills to express themselves cinematically and impact viewers.

CINE 381M*: Film, Media & Culture >1>IP (4 credits)
Monday/Wednesday, 10:15-11:45 a.m.
Allison McGuffie

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: Transnational Women Filmmakers >GP >IC (4 Credits)
Monday/Wednesday 2:15-3:45 pm
Sangita Gopal

This course will focus on cinema from multiple international locations - France, Argentina, India, Lebanon, China and Iran - in both fiction and non-fiction that have transnational modes of production and exhibition. We will explore the concept of women's cinema as world cinema and ask why women filmmakers enact such powerful critiques of national film infrastructures.

CINE 440: Mediterranean Film & Media >GP >IC (4 Credits)
Monday/Wednesday, 12:15-1:45 pm
Sergio Rigoletto

This course focuses on contemporary documentaries, fiction films and video art from North Africa, the Middle East and Southern Europe. In the current era of mass migration and increased border policing, the Mediterranean is frequently described as the troubling ‘blue frontier’ of Europe. This course appraises the ways in which a number of filmmakers, activists and industry professionals have come to imagine and practice the Mediterranean as a shared transnational space of media cooperation, one in which it may be possible to contest dominant Western narratives about citizenship, identity and mobility. Students will examine the media infrastructures of cultural production and circulation supporting these practitioners and their work including film festivals and activist media networks.