Space is still available in these winter term 2020 classes: 

CINE 266 History of Motion Picture II >1
CINE 399 Sp St Cinema & Power
CINE 399 Sp St Global Mobil Media
CINE 425 Top Sound for Screens
CINE 440 Top Contemp Glob Art >GP >IC

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

CINE 266: History of Motion Picture II: From 1927 to the 1960s >1 (4 credits)
Tuesday 2:00-4:50 p.m.; Thursday 2:00-2:50 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. 

CINE 399 Sp St Cinema & Power (4 credits)
Monday/Wednesday 2:00 – 3:50 p.m. / Priscilla Ovalle

This course focuses on the specific power dynamics that have historically shaped cinema (film, television, and emerging media) as an industry, representational art form, and academic discipline. Using historical and contemporary case studies and building from the Cinema Studies curriculum, students will learn key terms and interdisciplinary methods for studying media in a variety of historical contexts; by the end of this course, students will be able to identify, analyze, and articulate how cinema and its study in the U.S. have been shaped by larger, systematic power dynamics around race, gender, sexuality, class, etc. The course will include regular team-based work, with students identifying, researching, and analyzing case studies as part of the class discussion. While the course content focuses on the #MeToo moment as a period when students, scholars, and practitioners are collectively re-examining how media and its fields of study are shaped, the research project-based methods of this class will sharpen skills that go beyond the classroom.

CINE 399 Sp St Global Mobil Media
Tuesday/Thursday 12:00 – 1:50 p.m. / HyeRyoung Ok

This class will investigate various aspects of cultural practices and uses of mobile media - such as mobile phone, IPod, tablet PCs, and mobile gaming devices, etc., and particularly examine their significance as multimedia platforms in the context of convergent culture. As one of the most convergent digital media devices, the mobile phone, in particular, represents the paradigm of media convergence by challenging the simple definition of medium specificity as well as conventional binary concepts such as private and public in regards to media uses. We will look at discourse, productions, representation and uses of mobile media technologies in order to investigate various theoretical issues raised by current developments in digital transmedia. Particularly, we will examine how the ideals of ‘mobility’ and ‘personal media’ are constituted and at the same time challenged through diverse forms of appropriations in culturally specific contexts. The heterogeneous formations of global mobile media culture will inform us of the inter-relations between technology, medium, and culture defying the techno-deterministic assumption on the mobile media as universal technologies.

CINE 425 Top Sound for Screens
Tuesday/Thursday 12:00 – 1:50 p.m. / André Sirois

In this class, you’ll learn how to hear, listen, make, and think about sound and audio for film, television, and video games.  You will study acoustics and sound physics and apply that knowledge to field recording, Foley work, ADR, sound effect production, and mixing.  Students will learn about recording techniques for cinematic production, specifically booming and mixing on location, as well as multiple mic and plant mic techniques on set.  In the course, we will also consider sound theory and analysis by deconstructing examples of cinematic sound design in order to enhance actual production skills. 

CINE 440: Contemp Global Art Cinema >GP>IC (4 credits)
Monday/Wednesday 4:00-5:50 p.m. / Daniel Steinhart

What is art cinema? How does it differ from commercial film practices such as Hollywood cinema? To answer these questions, this course explores the form, style, and industry of contemporary art cinema from around the globe. We focus on the concept of national cinemas, acclaimed international filmmakers, and the role of film festivals in supporting art cinema. The course follows a global approach as we compare art movies from a rich array of film-producing cultures in Asia, Europe, Latin America, and even the United States. In the end, students will come away with an understanding of how art cinema can serve as a viable model for alternative storytelling, production, distribution, and exhibition strategies.