Seats Available in CINE Winter '21 Courses!

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

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

CINE 198: Wrk Post-Production Workflow (1 credit)
Fridays, 1/8-1/29, 9:15-11:45 a.m. / Kevin May
Satisfies:  This course counts toward the elective requirement for Cinema Studies Majors

In this four-week workshop, for both beginners and more experienced editors, we will explore non-linear 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.

CINE 410: Transnational Cinematography (4 credits)
Tuesday/Thursday, 12:15-1:45 p.m. / Ari Purnama
This course counts toward the Core B requirement for Cinema Studies Majors

How does cinematography work as an art and a craft in various cinematic contexts: traditions, movements, and eras? In this course, we will explore this primary question with the ultimate goal to obtain a more in-depth insight into cinematography (lighting, camera movement, framing, and color) as a means of visual storytelling and expression with its set of conventions, aesthetic functions and effects, and capacities to produce associative meanings. An equally important goal of this course is to gain insight into the role of cinematographers as creative practitioners in developing and advancing cinematography as an artistic field. We employ a transnational approach to cinematography in this course. This means that we will survey and discuss cinematographic works from a variety of film- producing contexts such as Germany, Japan, Hong Kong, and the United States. By doing so, we will get a sense of how specific cinematographic techniques develop across industries, nations, and cultures. Through the assigned readings, viewings, discussions, and a final research paper, you will come away with a critical understanding of cinematography's artistry beyond the technical dimension that it is typically perceived. In other words, 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 by engaging with the course material. In essence, this course aims to show you that there is more to cinematography than merely a matter of cameras, lenses, and technical wizardry.

CINE 410: Warner Bros Studio (4 credits)
Tuesday/Thursday, 10:15-11:45 a.m. / Michael Aronson
This course counts toward the Core A requirement for Cinema Studies Majors

This course looks at the history of the American film industry not just as a sum of its products (films designed for mass consumption) but as a complex business and entertainment system that produces complex cultural products. This course is about the Hollywood film and its relationship to the American film industry, and about the ways in which Hollywood has historically responded to conditions and challenges, whether social, industrial, legal or technological. In attempt to narrow our field of study, we will focus on the development and history of the Warner Brothers Studio, its producers, directors, stars and genres, particularly from the 1920s until the late 1960s. Independent primary research will be required for successful completion of the course.

CINE 420: Advanced Screenwriting (4 credits)
Monday/Wednesday, 4:15-5:45 p.m. / Masami Kawai
This course counts toward the Core Production B requirement for Cinema Studies Majors

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 Mediterranean Film and Media  >GP >IC (4 credits)
Monday/Wednesday, 12:15-1:45 p.m. / Sergio Rigoletto
This course counts toward the Core C requirement for Cinema Studies Majors

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.

CINE 490: Top Global Blockbusters (4 credits)
Monday/Wednesday 4:15-5:45 p.m. / HyeRyoung Ok
This course counts toward the Core B requirement for Cinema Studies Majors

This course explores one of the most visible, yet least critically discussed forms of popular culture: the movie blockbuster. We will endeavor to evaluate or re-evaluate the cultural significance of this often easily dismissed cultural phenomenon by positioning it at the intersections of such discourses as globalization, transnationalism, film historiography and genre. At the same time we will trace the genealogy of the movie blockbuster and examine its shifting definitions and generic conventions. In particular, challenging a myopic perception that blockbusters are the exclusive products of Hollywood, this class will survey the global dissemination of the movie blockbuster and focus on blockbusters, spectacles or “event movies” from Asia, including, but not limited to, China, Hong Kong, Japan, South Korea, and India. In addition to looking into the formal, aesthetic, and industrial elements of blockbusters across nations, the analysis of films will lead us to interrogate cinematic and cultural constructions of history, nation, gender and sexuality.

CINE 490: Top Slapstick Comedy (4 credits)
Tuesday/Thursday, 2:15-3:45 p.m. / Michael Aronson
Satisfies:  Core B for Cinema Studies Majors

In this course, we will study why a well-thrown pie to the face is funny. That is, this course is about slapstick, an important (and often hilarious) subgenre of comedy that has been around since the fifteenth century, but which arguably found its fullest form in American cinema. In particular, this course will focus on slapstick’s practitioners; from well-known actors like Charlie Chaplin, Buster Keaton and Laurel & Hardy to other important, but now lesser known performers, such as Mabel Normand, Carole Lombard and Monty Banks. We will concentrate on the form and its stars importance in the silent era, but trace the genre’s popularity from 19th century vaudeville all the way through Something About Mary.

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