Seats Available in CINE Spring '21 Courses!

Space is still available in the Spring Term 2021 Cinema Studies courses listed below! 

Please check for updates on seat availability of these courses and others in the major.

CINE 198: Wrk Post Prod Workflow (1 credit)
Fridays, 3/29-4/23, 9:15-11:45 a.m.
Instructor: Kevin May

In this four-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.

Post Production Workflow is an essential workshop that will help you succeed in your CINE filmmaking courses and your future filmmaking career. We explore foundational editing skills, such as media management, transcoding, and how to create a workflow to accommodate various media types. (This course is recommended to be taken in conjunction with or before CINE 270 or other Production A courses.)

CINE 440: Topic: Transnational Asian Film & Media >GP >IC (4 credits)
Monday/Wednesday, 4:15-5:45 p.m.
Instructor:  HyeRyoung Ok

This course explores border crossing in the Asia Pacific across a diverse range of popular medi–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: Topic: Transnational Film Genres (4 credits)
Tuesday/Thursday, 4:15-5:45 p.m.
Instructor:  Dong Hoon Kim

Genres are constantly changing, whether it is to adapt, understand or challenge new social and political environments. Genre films have been important cultural texts that continually mediate complicated relations of power. With all of this in mind, what can we gain by thinking of genre not just in terms of conventions and expectations, but in relation to national context and transnational influences?

Though perceived as "the most American film genre," if we follow the paths of the Western genre starting in the United States, it will lead us to Italy, to Japan, to India, to Mexico, and to East Germany. The recent trend of remaking Asian melodramas, gangster films and horror movies in Hollywood obviously reverses the presumed flow of influence from Hollywood to other national and regional cinemas. This course examines the transnational dissemination of genre films across nations and explores the ways in which genre conventions are constituted, redefined and transformed within these processes of global exchange.

In this course, we will primarily consider westerns and then melodramas that have traditionally been coded as a “female” genre (to the “male” western). In addition to exploring the formal and industrial elements of cinema across nations, the analysis of westerns and melodramas will lead us to interrogate cinematic and cultural constructions of violence, family, gender, sexuality, and territory across seemingly opposed genres.