Study Cinema Fall 2019!

Explore Cinema Studies Fall 2019 Core Ed Courses

Registration begins May 20, 2019.  Read below for more information and course descriptions!

Fall Course Poster 2019

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

Tuesday/Thursday, 8:00-9:50 a.m. / Peter Alilunas


People respond to movies in different ways, and there are many reasons for this. We have all stooin 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 tmodes 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 111: How to Watch TV >1 (4 credits)
Monday/Wednesday, 4:00-5:50 p.m. / Erin Hanna


With the rise of viewing practices likebinge-watching,” the increased respectability of qualitytelevision, new content producers like Netflix and Amazon, and technology that allows you to watcyour favorite programs on anything from a 5-inch smart phone to a 50-in HDTV, how we watch television is rapidly changing. It’s easy to get swept up in these changes, but one thing will always remain the same: the need for media literate viewers who can talk, think, and write intelligently about what they see on-screen. This course will teach you how to be a critical and informed television viewer, even as the very concept of television is being redefined. In doing so, you will deepen your understanding of specific television texts by using formal and ideological analysis and you will learn to situate those texts within different contexts of history, industry, technology, and reception.


CINE 151M***: Intro to Korean Cinema >1 >IC (4 credits)

Tuesday, 4:00-7:20 p.m. / Dong Hoon Kim


This course is a survey of Korean national cinema, from the earliest days of the medium to thpresent. 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 aan in-depth case study that challenges and expands the discussions of national cinema. Films will bscreened 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)

Monday/Wednesday, 10:00-11:50 a.m. / Andre 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 ideasare part of a remix continuum: new ideas often remix the great ideas that preceded them anwill 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 265: History of Motion Picture I: The Silent Era >1 (4 credits)

Tuesday, 2:00-2:50 p.m.; Thursday, 2:00-4:50 p.m. / Michael Aronson


CINE 265 (Previously ENG 265) is the first in a three-part chronological survey of the evolution of cinema as an institution and an art form. CINE 265 moves from the origins of cinema in the late 19th century through World War II. 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 265 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 sequence.

Previously taught as ENG 265; not repeatable.


CINE 340: Production Studies >1 (4 credits)
Tuesday/Thursday, 2:00-3:50 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- lineworkers, 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 360: Film Theory >1 (4 credits)
Monday/Tuesday, 2:00-3:50 p.m.  / Allison McGuffie


What is cinema? Is it an art form or a medium? What distinguishes cinema from other arts? Does

cinema inherently favor certain kinds of content and modes of expression? How can we describe its relationship to reality? What are the social and cultural effects or functions of cinema? What icinema’s future in the age of new mediaThis Arts & Letters group-satisfying course introduces students to some of the key authors, debates, and concepts that have motivated cinema scholarship since the early twentieth century. By applying the writings of groundbreaking theorists to films from across the globe, students will explore cinema as an art, ideology, social/cultural institution, and as a technological mediation of reality.”


CINE 381M*: Film, Media & Culture >1>IP >US (4 credits)
Monday/Wednesday, 10:00-11:50 a.m. / Instructor TBD


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 thapromote 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.