Space is still available in a few Winter 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 winter courses and how they satisfy the major.

CINE 198: Wrk Post-Production Workflow (1 credit)
Friday, 1/13-2/17, 10:00-11:50 a.m.
Instructor:  Kevin May

In this six-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. Additional information about this course is available at https://cinema.uoregon.edu/faculty-news-news/space-available-winter-23-cine-198-post-production-workflow.

Note: Course prerequisites may be waived by contacting the instructor, Kevin May, at kmay2@uoregon.edu. Because this course has special meeting dates, regular academic deadlines do not apply. Please contact the academic department for more information.

CINE 407: Sem Honors Thesis 1 (2 credits)
Wednesday, 4:00-5:50 p.m.
Instructor:  Priscilla Ovalle

Honors Thesis I is offered winter term and will support your research or creative project planning, research, and writing to provide you with a solid plan and early draft of your Thesis Project. Read the website page for information on how to enroll. Feel free to email Prof. Ovalle with any questions or concerns about the proposal, GPA, and/or eligibility.

 (Note: Honors Thesis II is offered spring term and will help students finalize their research or creative project in preparation for a spring defense.) 

CINE 410: Southeast Asian Cinema
Tuesday/Thursday, 4:00-5:50 p.m.
Instructor:  Ari Purnama

This course is a survey of the cinematic arts from film producing countries in Southeast Asia.You will be introduced to the themes, narratives, styles, and popular genres explored by filmmakers in Thailand, the Philippines, Malaysia, Singapore, 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 context—from the big-budget studio-financed movies to independently produced festival 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 Films of Ang Lee
Tuesday, 4:00-7:50 p.m.
Instructor:  Dong Hoon Kim

This course will examine the films of Ang Lee whose influence go beyond national, industrial and cultural boundaries. Due to his work’s global appeal and the incongruity across his films, Ang Lee is often labeled as a “transcendent,” “transnational” or “postmodern” filmmaker whose work raises new critical questions for many theories of film studies. In this class we will inquire into Ang Lee’s films with the theoretical framework of film authorship. The course will beginwith tracing the origin and development of the theory of film authorship and the role it played in shaping the field of film studies. While employing different approaches and theorizations of film authorship in analyzing formal elements, narrative strategies and subject-matters that define Lee’s work, we will also try to expand our sense of film authors by examining them not simply as “authors” who deftly encode their artistic visions into their works but as cultural “signifiers” that influence film and culture industries and circulate across the national boundaries.