Current Undergraduate Courses

All 2022/23 Cinema Studies (CIN) undergraduate courses will take place in person unless public health guidance requires a shift to online learning. 

Group A: Foundations

Introduction to film analysis; concepts of film style and narrative. Topics include: documentary, avant-garde, genres, authorship, ideology, and representation.

Students must sign up for a Practicum and a Tutorial. When the 2022/23 Timetable is released, please see Faculty of Arts & Science Timetable for the schedule of Practicums and Tutorials.

Day and Time: Wednesday 9:00-10:00

Instructor: To be announced.

Exclusion: INI115Y1, ENGB70H3, ENGB75H3, ENGB76H3, CIN101H5

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Emergence of cinema from its start until the dismantling of the studio system and an emergent internationalism in the early 1960s. Examines the practices and theories underlying the development of cinema as a mass medium in the 20th century.

Students must sign up for a Tutorial. When the 2022/23 Timetable is released, please see Faculty of Arts & Science Timetable for the schedule of Tutorials.

Day and time: Tuesday 13:00-14:00, Wednesday 15:00-18:00

Instructor: Nadine Chan

Prerequisite: CIN105Y1

Exclusion: INI212Y1, INI215Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations, 2. Thought, Belief and Behaviour

Examines film theory and practice from the 1950s onward, and the impact of media change on earlier film cultures and aesthetics.

Students must sign up for a Tutorial. When the 2022/23 Timetable is released, please see Faculty of Arts & Science Timetable for the schedule of Tutorials.

Day and time: Tuesday 12:00-13:00, Wednesday 12:00-15:00

Instructor: Scott Richmond

Prerequisite: CIN105Y1, CIN201Y1

Exclusion: INI214Y1, INI314Y1, INI315Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations, 2. Thought, Belief and Behaviour

Group B: Genre and Modes

Horror film as a genre, focusing on three types of international horror: the un-dead, body horror, and the supernatural. The genre's popular appeal, affective power, unique means of producing pleasure, and current global resurgence will be emphasized. Topics include: the aesthetics of gore and violence, technologies of fear, J-Horror, new French extremity, cult fandom and paracinema, and media convergence.

Students must sign up for a Tutorial. When the 2022/23 Timetable is released, please see Faculty of Arts & Science Timetable for the schedule of Tutorials.

Day and Time: Tuesday 15:00-18:00

Instructor: Lauren Cramer

Exclusion: INI226H1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Erotic images and sounds have long featured in filmic pleasure and, for just as long, excited controversy. This course examines how sex is articulated on screen and how its regulation suggests broader themes and ideas. Topics include: obscenity laws and the history of film censorship, the eroticized aspects of conventional movies, art cinema, and "adult" erotic films.

Students must sign up for a Tutorial. When the 2022/23 Timetable is released, please see Faculty of Arts & Science Timetable for the schedule of Tutorials.

Day and time: Tuesday 15:00-18:00

Instructor: To be announced.

Exclusion: INI223H1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

CIN320H1S critically surveys the representation of work in documentary films and videos. The course is divided into three units. The first section looks briefly at foundational examples from the history of documentary filmmaking: the New Deal’s filmic envisioning of a new working public; Barbara Kopple’s observational documentaries about striking workers; and Michael Moore’s historical surveys of postindustrial America. In the subsequent two sections of the course, we examine the substantial legacy of American direct cinema in present-day documentary filmmaking, but we resituate its customary emphasis on “self-realizing” figures as investigations of work. Unit Two therefore turns to the so-called “process genre,” “the sequentially ordered representation of someone making or doing something” (Aguilera Skvirsky), but its primary focus is contemporary observational filmmaking and the latter's description of today’s degraded forms of work. In the course’s final unit, we analyze rockumentaries, portrait/profile films, and images of widespread precarity to determine how they figure labour in its assorted present-day forms. As we’ll see, the earliest exemplars of American direct cinema created a durable site for the figuration of “flexible” work, and we’ll try to understand how the familiar observational approach is deployed in contemporary nonfiction films for this same purpose.

Day and time: Monday 12:00-16:00

Instructor: To be announced.

Prerequisite: CIN105Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

This course examines "cult" and "exploitation" cinema. It examines the growing popularity of cult/exploitation films as an emerging cinematic subculture that valorizes disreputable or "trash" cinema. A number of sub-genres within exploitation film, including teen films, educational/instructional films, sexploitation, and Blaxploitation, will be explored. The social politics of appropriating texts through ironic reading strategies will also be considered.

Day and time: Monday 9:00-13:00

Instructor: To be announced.

Prerequisite: CIN105Y1

Exclusion: INI396H1F (2011), CIN320H1F (20145), CIN320H1S (2016)

Distribution Requirement Status: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

This course has two tendencies: the first is the study of how films end – by achieving classical closure or avoiding it and becoming some version of an open text. The other tendency is more literal: it concerns how apocalyptic – and post-apocalyptic – themes and images have assumed the frequency and intensity in contemporary films.

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Thursday 11:00-13:00, Friday 11:00-13:00

Instructor: Bart Testa

Prerequisite:  At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

This course introduces students to the video essays and videographic criticism as an emergent form through a no-budget, DIY approach to making critical work about moving image media through moving image media.

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Tuesday 10:00-14:00

Instructor: To be announced.

Prerequisite:  At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Group C: Social and Cultural Practices

Cinema as a commercial enterprise. Production, distribution, and exhibition in the political economy of North American film culture.

Day and time: Friday 13:00-16:00

Instructor: To be announced.

Exclusion: INI228H1

Distribution Requirement: Humanities or Social Science

Breadth Requirement: 3. Society and its Institutions

More information to come.

Students must sign up for a Tutorial. When the 2022/23 Timetable is released, please see Faculty of Arts & Science Timetable for the schedule of Tutorials.

Day and Time: Monday 15:00-18:00

Instructor: To be announced.

Distribution Requirement: Humanities

Breadth Requirement: 3. Society and its Institutions

More information to come.

Day and time: Tuesday 10:00-12:00, Wednesday 10:00-12:00

Instructor: To be announced.

Prerequisite: CIN105Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Students will develop screenwriting skills under the guidance of a renowned screenwriter-in-residence through a combination of writing workshops and individual consultations. Like the course, the appointment of the Universal Screenwriter-in-Residence occurs biannually.

The application deadline for CIN349H1Y - Screenwriting is June 1, 2022. More information on the application process, the application form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Friday 13:00-16:00

Instructor: To be announced.

Prerequisite:  CIN105Y1, CIN201Y1, and two additional Cinema Studies full course equivalents.

Exclusion: INI388H1, VIC276H1, CRE276H1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Hip-hop is a vast cultural aesthetic; as a result, establishing clear boundaries around the genres has been a challenge for fans and scholars. Defining hip-hop only gets harder when we consider a broader range of objects—hip-hop architecture, fine art, hair, etc. This course explores hip-hop aesthetics on screen, tracing the culture’s shift across our audio-visual landscape and its movement from the margins to the mainstream. Through close attention to form in contemporary hip-hop visual culture (cinema, fashion, dance, music videos, album art, etc.), we will try to understand how hip-hop’s expansion over the last five decades has confronted the cultural logics that shape race, gender, sexuality, labor, and technology. Our primary objective is to identify sophisticated research questions—using tools from Sound Studies, Black Studies, Queer Theory, and Performance Studies—that respond to hip-hop’s theorization of culture and aesthetics.

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Wednesday 15:00-17:00, Thursday 13:00-15:00

Instructor:  Lauren Cramer

Prerequisite: At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

More information to come. 

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Tuesday 13:00-17:00

Instructor: To be announced.

Prerequisite: At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Group D: Theory and Criticism

This course takes four selected directors' films and examines them analytically and interpretively. The purpose of the course is to apply and test the auteur theory in the context of concepts of film style and film conventions.

Day and time: Tuesday 17:00-20:00, Wednesday 18:00-19:00

Instructor: Bart Testa

Prerequisite: CIN105Y1

Exclusion: INI244Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

More information to come.

Day and time: Monday 15:00-18:00

Instructor: To be announced.

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Courses in special topics designed for Specialists and Majors in Cinema Studies. Past topics include: "Cinema and Intermediality."

Day and time: Tuesday 17:00-19:00, Wednesday 17:00-19:00

Instructor: To be announced

Prerequisite: CIN105Y1, CIN201Y1

Distribution Requirement: Humanities

Breadth Requirement: 2. Thought, Belief and Behaviour

In the Western imagination, cultural difference (race, class, gender, etc.) is rendered through the organization of space. Geographies, real or imagined, provide the grounds for exploration, segregation, and domination. In this course, we will explore the politics of space and the built environment in a wide range of images across film, television, and digital media. Using a collection of interdisciplinary texts, we will address cultural spaces like “the sunken place,” (Get Out), the banlieue, and “the East.” The course will be divided into three units: first, we will explore the formal and historical resonance between cinema and architecture; second, we will look at specific architectural techniques that appear in both the built environment and in cinema that shape the way we understand space, bodies, information, time, and culture; finally, we will explore spatial interventions in visual culture, formal manipulations of space, that use images to reimagine the world and our place in it.

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Tuesday 14:00-16:00, Thursday 13:00-15:00

Instructor: Lauren Cramer

Prerequisite: At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

More information to come.

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Monday 13:00-15:00, Wednesday 13:00-15:00

Instructor: To be announced.

Prerequisite: At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

This 400-level seminar provides a critical context for the rise of gallery-based moving image installations, outlining their distinctive features and their particular relevance in terms of aesthetics and practice. Conceptualizing cinema’s migration into the gallery – to include its multi-screen potential beyond single-screen projection– will entail study of how screen-based installation’s temporal and affective affordances engender unique forms of visuality and spectatorship. We will examine video installation’s capacity to provoke sensory encounters within the architectural space of the gallery through various optics: cinematic, philosophical, and art historical. To this end, we will study video installation’s precedents – from early forms of expanded cinema to the essay film, and their migration into the gallery. Lastly, through select case studies of individual artists’ installation works we will explore how the proliferation of moving images within gallery space coalesces with contemporary art’s “documentary turn.”

Beyond information or spectacle—we will consider the claim that installation’s unique charge of the real affords a means to not only rethink moving images’ aesthetic and political potential, but to consider the commonplace that the moving image comprises thought. Contextualizing screenbased installation’s aesthetic, political, and cultural dimensions will help us account for its proliferation within museum and art gallery contexts, with its increasingly global audience and diversified exhibition design. Central to this seminar is sustained engagement with aesthetic practices of black diasporic installation artists/filmmakers, to include John Akomfrah, Stan Douglass, Isaac Julien, Steve McQueen, Kara Walker, as well as critical works by Hito Steyerl and William Kentridge, among others. A chief ambition of the course is to put these moving image works into conversation with primary theoretical texts germane to cultural and political dimensions of visuality and blackness, to include writings by Frederick Douglass, Gilles Deleuze, Darby English, James Snead, George Didi-Huberman, Alexander Weheliye, Claire Bishop, Raymond Bellour, Okwui Enwezor, Achille Mbembe, Boris Groys, Henry Louis Gates, Sylvia Wynter, Kobena Mercer, among others.

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Tuesday 9:00-12:00

Instructor: Kass Banning

Prerequisite: At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Group E: History and Nation

History and diversity of Canadian and Québécois cinemas. Analyses of film and critical frameworks examine how co-productions, multiculturalism, and post-national arguments are re-shaping the production and reception contexts of national cinema. Annual emphasis will be placed on one of the following topics: the emergence of the feature film, Québécois cinema, documentary, or experimental cinema.

Day and time: Monday 10:00-12:00, Wednesday 10:00-12:00

Instructor: To be announced.

Prerequisite: CIN105Y1

Exclusion: FCS391H1, INI385Y1, INI385H1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Major contemporary developments beyond Hollywood and European filmmaking, examining a select number of national/regional cinemas: Africa, Korea, Iran, India (Hindi cinema), and Latin America. Topics include: transnationalism, indigenization of generic and stylistic conventions, cultural contexts, distribution networks, film festivals, and reception within a global economy.

Day and time: Monday 16:00-19:00, Thursday 13:00-15:00

Instructor: To be announced.

Prerequisite: CIN105Y1

Exclusion: INI380Y1, ENGC83H3

Recommended Preparation: CIN201Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations, 3. Society and its Institutions

Examination of Chinese films in their three post-World War II production centres: The People's Republic of China, Taiwan, and Hong Kong. Commercial, political, and aesthetic trends; international reception; major auteurs and genres. Directors include Tsui Hark, Chen Kaige, Zang Yimou, Edward Yang, John Woo, and Wong Kar-Wai.

Day and time: Tuesday 14:00-17:00, Wednesday 15:00-17:00

Instructor: Bart Testa

Prerequisite: CIN105Y1

Exclusion: INI390Y1, CIN376Y0

Recommended Preparation: CIN201Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations, 3. Society and its Institutions

More information to come.

Day and time: Thursday 9:00-13:00

Instructor: Kass Banning

Prerequisite: CIN105Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

More information to come.

Day and time: Thursday 13:00-15:00, Friday 11:00-13:00

Instructor: To be announced.

Prerequisite: CIN105Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

This course will explore the socio-cultural history of film in the city from the first movie theatres to the emergence of film festivals to the changing ways people are now interacting with cinema under social distancing restrictions. We will explore how the film cultures in the city have changed and expanded, as well as look at how historical events impact the way people watch movies. Students will be exposed to historical film research using online archives and digitized newspaper databases.

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Friday 13:00-17:00

Instructor: To be announced.

Prerequisite: At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

More information to come.

Pre-enrolment balloting for 400-Level seminars will start in late May to early June, opening roughly five weeks before the July enrolment period begins. More information on balloting procedures, the balloting form and the submission deadline can be found in Cinema Studies Undergraduate Forms.

Day and time: Monday 10:00-12:00, Wednesday 10:00-12:00

Instructor: To be announced.

Prerequisite: At least 10 full-course equivalents, including CIN105Y1 and CIN201Y1.

Corequisite: CIN301Y1

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Italian-Americans have a long and varied history in the cinematic traditions of Hollywood. Hollywood’s fascination with Italian mobsters and other cultural stereotypes have given rise to some of the most significant films in American popular culture including: The Godfather Trilogy, Goodfellas, Big Night, Moonstruck, and Do the Right Thing. This course examines the history of Italian-Americans in Hollywood with a focus on how diasporic directors, actors, and communities have grappled with their representation in Hollywood cinema.

Day and time: Thursday 14:00-16:00

Instructor: Jessica Whitehead

Distribution Requirement: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Group F: Independent Studies

Independent research projects devised by students and supervised by Cinema Studies faculty. Open to advanced Specialist and Major students in the Cinema Studies Program. Submit applications to the Undergraduate Program Office: Fall 2022 courses by May 1, 2022, Winter 2023 courses by November 1, 2022, Summer 2023 courses by April 1, 2023. See Cinema Studies Undergraduate Forms for the application form. Not eligible for CR/NCR option.

Prerequisite: At least 10 full-course equivalents, including CIN105Y1, CIN201Y1, CIN301Y1 or permission of instructor.

Distribution Requirement Status: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Independent research projects devised by students and supervised by Cinema Studies faculty. Open to advanced Specialist and Major students in the Cinema Studies Program. Submit applications to the Undergraduate Program Office: Fall 2022 courses by May 1, 2022, Winter 2023 courses by November 1, 2022, Summer 2023 courses by April 1, 2023. See Undergraduate Forms for application form. Not eligible for CR/NCR option.

Prerequisite: At least 10 full-course equivalents, including CIN105Y1, CIN201Y1, CIN301Y1 or permission of instructor.

Distribution Requirement Status: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Independent research projects devised by students and supervised by Cinema Studies faculty. Open to advanced Specialist and Major students in the Cinema Studies Program. Submit applications to the Undergraduate Program Office: Fall 2022 courses by May 1, 2022, Winter 2023 courses by November 1, 2022, Summer 2023 courses by April 1, 2023. See Undergraduate Forms for application form. Not eligible for CR/NCR option.

Prerequisite: At least 10 full-course equivalents, including CIN105Y1, CIN201Y1, CIN301Y1 or permission of instructor.

Distribution Requirement Status: Humanities

Breadth Requirement: 1. Creative and Cultural Representations

Group G: Cross-Listed

Please check with the home department for more details.

An exploration of contemporary films of Ireland, Scotland and Wales from 1980 to the present, as they relate to representations of Celtic identity and the formation of national cinema.

Date and time: Monday 18:00-21:00

Instructor: To be announced.

Exclusion: SMC355H1

Distribution Requirements: Humanities

Breadth Requirements: 1. Creative and Cultural Representations

This course focuses on Canadian literary and artistic productions that challenge prevailing notions of nationality and sexuality, exploring not only how artists struggle with that ongoing Canadian thematic of being and belonging, but also celebrate pleasure and desire as a way of imagining and articulating an alternative national politics.

Date and time: Tuesday 14:00-17:00

Instructor: To be announced.

Prerequisite: SDS255H1/SDS256H1/CDN267H1 (formerly UNI267H1)/CDN268H1 (formerly UNI268H1) or permission of the instructor

Exclusion: SDS375H1, UNI325H1

Distribution Requirements: Humanities

Breadth Requirements: 1. Creative and Cultural Representations

A survey of the Russian cinematic tradition from its beginnings through the first decade following the disintegration of the USSR. The course examines the avant-garde cinema and film theory of the 1920s; the totalitarian esthetics of the 1920s-1940s and the ideological uses of film art; the revolution in film theory and practice in the 1950s-1960s; cinema as medium of cultural dissent and as witness to social change. Students also acquire basic skills of film analysis. Taught in English, all films subtitled in English.

Date and time: Monday 14:00-16:00

Instructor: Zdenko Mandušić

Distribution Requirements: Humanities

Breadth Requirements: 1. Creative and Cultural Representations

This course is a critical study of the historical, aesthetic, and cultural formation of the concept of pornography. The course explores the relationship between sexual representation and sex work; works through debates about artistic merit and censorship and how they relate to larger issues of power, capitalism, and technology; and theorizes the relationship between sex and commerce. Readings will include work from feminist, queer, people of colour, and trans theorists in the cutting-edge field of porn studies.

Date and time: Tuesday 12:00-14:00

Instructor: Patrick Keilty

Prerequisite: 1.0 credit in SDS (waived for CIN program students)

Exclusion: UNI470H1; UNI475H1, Special Topics: Porn Studies

Recommended Preparation: SDS365H1

Distribution Requirements: Humanities

Breadth Requirements: 1. Creative and Cultural Representations

An overview of the cinematic tradition in Yugoslavia, Greece, Albania, and Bulgaria from the 1960s to the present. Topics include revolution and socialism; cinema as activism; ideology and politics; sex and gender; war and trauma. Taught in English. All films with subtitles.

Date and time: Thursday 12:00-14:00

Instructor: Zdenko Mandušić

Exclusion: SLA427H1

Distribution Requirements: Humanities

Breadth Requirements: 1. Creative and Cultural Representations

This seminar will investigate how filmmakers and theorists have related the categories of fact and fiction to the production of films from early cinema to today's digital moving image. At the center of our inquiry will be the history and theory of cinematic authenticity, historical referentiality, and reality effects. We will track how the framing of material reality in moving images produces new aesthetic relations and political implications. We will begin by considering concepts of fiction and nonfiction in early cinema and the later contentious debates over fractography and historical reconstruction, specifically among Soviet Avant-Garde Filmmakers. Then, we will consider the emergence of biographical films and the use of documentary fiction in the service of the nation state. As part of anti-totalitarian and anti-colonial movements, we will examine how filmmakers undermined the distinction between fact and fiction through collage aesthetics and the fictionalization of reality. Our trajectory will take us toward contemporary developments and the continuing experimentation with combining fact and fiction in digital cinema.

Date and time: Thursday 12:00-14:00

Instructor: Zdenko Mandušić

Prerequisite: 9.0 credits

Breadth Requirements: Creative and Cultural Representations (1)

This online course examines the social, political, and cultural contexts of recent Latin American cinema. Topics include: military dictatorship and its aftermath, race and indigeneity; poverty, precarity, and inequality; gender and sexuality; and memory and trauma. The representation of these themes in Latin American cinema of the 21st century has contributed to an increase in its transnational and cosmopolitan reception. Focus is given to Argentina and Mexico, though films from other countries will be included. Taught in English.

Date and time: Wednesday 16:00-18:00

Instructor: To be announced.

Recommended Preparation: CIN105Y1/CIN201Y1/SPA258H1

Distribution Requirements: Humanities

Breadth Requirements: 1. Creative and Cultural Representations

First Year Foundations

This first-year foundation course is a survey of sound film (with a brief selection of silent shorts) on the topic of how popular cinemas have represented going to school. Looking at one film and one scholarly text a week, the course will offer an introduction to the close reading of film texts, reading and writing film criticism, and the fundamentals of film history. By engaging with only one film/reading per week, the course emphasizes depth over breadth. Texts for the course may include excerpts from Corrigan’s A Short Guide to Writing About Film, Sturken and Cartwright’s Practices of Looking, Staiger’s Interpreting Films, and Prince’s Movies and Meaning, along with selected criticism on the movies screened. Those films may include Zero for Conduct, Aparajito, Tom Brown’s School Days, Tea and Sympathy, If, Rock and Roll High School, Mean Girls, School Daze, Blackboard Jungle, or Lady Bird. Restricted to first-year students. Not eligible for CR/NCR option.

Day and time: Tuesday 13:00-15:00, Thursday 13:00-15:00

Instructor: Nicholas Sammond

Distribution Requirements: Humanities

Breadth Requirements: 1. Creative and Cultural Representations