Course Catalog 2022-2023 [ARCHIVED CATALOG]
Cinema Studies
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Geoff Pingree, Professor of Cinema Studies and English, Director
E. Grace An, Associate Professor of Cinema Studies and French
Jennifer Blaylock, Visiting Assistant Professor of Cinema Studies and Mellon Postdoctoral Fellow
Rian Brown-Orso, Associate Professor of New Media and Cinema Studies
William Patrick Day, Professor of English and Cinema Studies
Hsiu-Chuang Deppman, Professor of Chinese and Cinema Studies
Jeffrey Pence, Associate Professor of English and Cinema Studies
Joseph Rizzolo, Media Engineer, Instructor of Cinema Studies
Joshua Sperling, Arts and Sciences Creative Media Director, Visiting Professor of Cinema Studies
TBD, Visiting Assistant Professor of Cinema Studies
Visit the program webpage for up-to-date information on program faculty, visiting lecturers, and special events.
The Cinema Studies Program at Oberlin offers courses in both filmmaking, screenwriting, and critical studies. The major is not divided into separate tracks as we believe that knowing about how movies are made enhances critical work while a knowledge of the history and theory of cinema supports filmmaking.
Our program deals with cinema as an artistic practice and as a dynamic part of cultural and social history, placing cinema in the contexts of other media as well as cinema as part of a global network of the moving image.
As a program in a liberal arts college, we believe that studying cinema and making movies is an important way of learning about the world and how we live and act in it today. The moving image in all its forms and manifestations–from traditional theatrical movies and television to digital streaming platforms–represents, mediates, and shapes our understanding of the world, our own experience, and our experience of others. Studying and creating cinema enhances our vision–in every sense of the term–of our world.
The cinema studies major requires nine courses, up to four of which may be taken in such other departments and programs as TIMARA, creative writing, theater, studio art, English, comparative literature, Africana studies, and East Asian studies. Each student in the cinema studies major shapes their own program with the help of their advisor.
Students begin critical studies in cinema with 100- and 200-level courses which are open without prerequisites; students interested in majoring in cinema studies should plan to take CINE 290 by the end of their sophomore year, though the course is also open to students considering other majors.
While the program offers a general introductory course in film production (CINE 291 ), we also think students can begin learning to make movies by choosing the kind of filmmaking that most interests them from among the 300-level cinema workshops (CINE 313 , CINE 320 , CINE 324 , and CINE 326 ). These small-enrollment courses have special tutorial sessions for students with little or no experience in filmmaking. Each of these courses may be repeated for full credit.
See information about Research, Internships, Study Away, and Experiential Learning (RISE).
Transfer of Credit
No more than four full courses or the equivalent of transfer credit may be applied to the cinema studies major. No more than one 300-level course may be transferred for credit. For approval of transfer credit toward the major and/or toward meeting prerequisites for upper-level courses, students should consult with the program director, preferably with syllabi in hand.
First-Year Seminar Program
Although first-year seminars (FYSP) do not count toward the major, FYSP related to cinema studies are regularly taught by program faculty (e.g. FYSP 128 , FYSP 157 , FYSP 171). These small, intensive courses provide one means of preparation for the study of cinema, and are invaluable to first-year students in the College as they develop skills in critical and creative thinking, reading, viewing, analysis, writing, and discussion.
Explore Winter Term projects and opportunities.
Majors and Minors
Courses- CINE 109 - Topics in Chinese Film: Introduction to Modern Chinese Cinema
- CINE 111 - Introduction to Media Studies
- CINE 112 - Intro to American Documentary: 1960 to the Present
- CINE 116 - Film Experience: The Cinematic World
- CINE 117 - Sound and Cinema
- CINE 118 - Film Noir: A Transnational Perspective
- CINE 119 - Exilic Cinema
- CINE 125 - Hong Kong Cinema
- CINE 173 - American Cinema 1966-1990
- CINE 180 - Selected Directors: Terrence Malick
- CINE 188 - Cinematography 1
- CINE 202 - Modern Latin American Cinema
- CINE 203 - Funny Women: Women, Comedy, and Film
- CINE 206 - Modern Chinese Literature and Film: The Art of Adaptation
- CINE 211 - What is Media?
- CINE 212 - Social Media Explorations
- CINE 243 - Introduction to African Cinema
- CINE 244 - When Old Media Were New: Global Histories of New Media
- CINE 250 - French Cinema, Intersectional and Feminist
- CINE 251 - New Zealand Film
- CINE 267 - Narrating and Documenting the Israeli-Palestinian Conflict
- CINE 277 - Visual Storytelling for Directors
- CINE 280 - Technophobia and Occult Media
- CINE 282 - Hollywood Narrative & Genre
- CINE 284F - AOI Workshop-Full
- CINE 284H - AOI Workshop-Half
- CINE 288 - Cinematography 2
- CINE 290 - Introduction to the Advanced Study of Cinema
- CINE 291 - Fundamentals of Cinema Production
- CINE 293 - Covering Crisis: Storytelling Across Media
- CINE 295 - Cinematic Storytelling Workshop
- CINE 298 - Video Production Workshop I
- CINE 301 - Sound for Moving Picture
- CINE 302 - Montage in Thought & Practice
- CINE 303 - Back to the Future: The French New Wave
- CINE 306 - Global Women’s Documentary
- CINE 309 - Chinese Popular Cinema and Public Intellectualism
- CINE 311 - Silent Cinema: Technology, Industry, Modernity
- CINE 312 - Experimental Ecocinema
- CINE 313 - ANIMATION WORKSHOP : Stop Motion Animation from Analog to Digital
- CINE 314 - Bardot, Seyrig, Fonda: Stardom and Activism Before #MeToo
- CINE 315 - Queer Media, Activism and Thought in France: Case Studies
- CINE 316 - Usership Media
- CINE 320 - Video Production Workshop II: Documentary Production
- CINE 321 - Contemporary World Auteurs
- CINE 322 - Experiments in Moving Image & Sound I
- CINE 323 - Theory and History of Global Cinema
- CINE 324 - Video Production Workshop II: The Short Film
- CINE 325 - Imagining Immanence
- CINE 326 - First Person Cinema: Personal Narrative
- CINE 328 - Media Networks: Interconnections of History and Theory
- CINE 329 - Chinese Queer Cinema
- CINE 331 - Docufiction
- CINE 332 - The Autobiographical Film
- CINE 335 - Advanced Cinematic Storytelling
- CINE 342 - Experiments in Moving Image and Sound II
- CINE 347 - When Old Media Were New
- CINE 350 - The Poetics and Politics of French Documentary and the Essay Film
- CINE 354 - Actors, Stars, and the World Stage
- CINE 358 - Feminist Media Histories
- CINE 360 - Strange Cinema
- CINE 361 - Time & the Human Condition
- CINE 362 - New Issues in Documentary
- CINE 363 - Bodies of Laughter: The Slapstick Film Comedy
- CINE 364 - Advanced Film Making Projects
- CINE 370 - Francophone Cinemas of the African Diaspora
- CINE 372 - Contemporary Literary Theory: Post-Modernity and Imagination
- CINE 375 - Realism, 1800 to the Present: The Mirror Up to Nature
- CINE 377 - Narrative Across Platforms
- CINE 381 - Hopeful Monsters: (Mixed-)Media Studies
- CINE 398 - New Wave, New Hollywood, New Cinema Studies
- CINE 399F - Cinema Studies Practicum - Full
- CINE 399H - Cinema Studies Practicum - Half
- CINE 980 - Transmedia Storytelling in Japanese Cinema
- CINE 995F - Private Reading - Full
- CINE 995H - Private Reading - Half
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