Summer Undergraduate Courses

Please check this webpage for the most up-to-date information.

Friday, March 1, 2024 - Priority course enrolment begins

Monday, March 4, 2024 - All Faculty of Arts & Science students may enrol

Tuesday, April 8, 2024 - St. George Campus students may enrol

Wednesday, April 9, 2024 - UTM and UTSC students may enrol

Y courses run May 6 - August 23, 2024
F courses run May 6 - June 24, 2024
S courses run July 2 - August 23, 2024

Group A: Foundations

CIN105Y1Y - Introduction to Film Study

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

Day and time: Lectures on Tuesday and Thursday 10:00-14:00; Tutorials on Thursday 15:00-17:00 or Friday 10:00-12:00
Instructor: Daniele Iannucci
Exclusion: INI115Y1, ENGB70H3, ENGB75H3, ENGB76H3, CIN101H5
Distribution Requirement: Humanities
Breadth Requirement: 1. Creative and Cultural Representations


Group C: Social and Cultural Practices

CIN240H1F - The Western

A lone gunslinger. A frontier town under siege. Tumbleweeds. The Western’s symbolic potency has never disappeared even as the genre’s popularity has waned over the years; we see remnants of its iconography in television, music videos, and advertisements. CIN240H1F - The Western will explore the fraught relationship between Western films and North American history, the genre’s global popularity, and its social conscience. We will examine concepts such as mythology, nationhood, freedom, necessity, (so-called) civilization, nature, genocide, and settler colonialism within a genre that is constantly shifting in relation to its socio-political moment. This course will offer students the opportunity to familiarize themselves with the trajectory of the Western genre, get to know important critiques of it, and learn its potential for nuance and complexity.

Day and time: Tuesday and Thursday 15:00 - 19:00
Instructor: Joshua Wiebe
Distribution Requirement: Humanities
Breadth Requirement: 3. Society and its Institutions

CIN336H1F - Queer Film and Media: Bad Queers

Queer Film and Media focuses on films that are populated with bad queers—the drifter, the hustler, the loser, the disobedient child, the blasphemer—and other unruly subjects. How is queerness deployed, structured, and otherwise utilized on-screen outside of questions of “good” representation? Or, what makes someone a “bad queer”? Moving broadly from the New Queer Cinema of the early 1990s to our contemporary moment, we will critically engage with texts across cinema studies and queer theory while also interrogating our own reception to watching “queers behaving badly.” By developing reading and viewing practices beyond considerations of “good” cinematic representation, what can these bad queer subjects teach us in all of their disruptive, discomforting, and antisocial articulations?

Day and time: Monday and Wednesday 10:00 - 14:00
Instructor: Kanika Lawton
Prerequisite: CIN105Y1 or 1.0 credit from SDS255H1, SDS256H1, SDS279H1, SDS355H1
Distribution Requirement: Humanities
Breadth Requirement: 1. Creative and Cultural Representations

CIN340H1S - The Global TV Serial

Crash Landing on You, Ertugrul! Serials have long captivated audiences’ imaginations across the globe. This course will examine TV serials on a global scale. We will highlight three corners of the world in the six weeks of the course: (1) the Americas; (2) the Balkans and the Middle East; and (3) East Asia. Every week, we will visit a TV serial genre or subgenre that has emerged in a particular social context: the American soap opera, Mexican telenovela, Turkish dizi, Levantine Arabic musalsal, Japanese asadora, and Korean drama, or K-drama.

What differentiates these genres of seriality, and what do they have in common? What is TV, or TV “flow”? How do we define the TV serial and, by extension, the TV series? Posing these somewhat broad and abstract questions will initiate our international and intercontinental journey: we will be flowing through TV serial forms or formats to test our answers to these questions. Can thinking with these fluid concepts teach if TV genre conventions are contingent across place and time? Our readings will include excerpts or chapters from some of the foundational texts of (global) television studies, such as Raymond Williams’s Television: Technology and Cultural Form (2003 [1974]), along with later edited collections like Lisa Parks and Shanti Kumar’s Planet TV: A Global Television Reader (2003). Our screenings will range from the American classic Dallas (1978 – 1991) and the Canadian touchstone Degrassi: The Next Generation (2001 – 2015) to more recent international TV hits including Resurrection: Ertugrul (Diriliş: Ertuğrul, 2014 – 2019) and Goblin: The Lonely and Great God (2016).

Day and time: Tuesday and Thursday 17:00 - 21:00
Instructor: M. Mert Orsler
Prerequisite: CIN105Y1
Distribution Requirement: Humanities
Breadth Requirement: 1. Creative and Cultural Representations


Group D: Theory and Criticism

CIN260H1S - Canadian Cinema

How do we define Canadian cinema? By those who make films, fund them, consume them, theorize them, or by featuring recognizably Canadian spaces? This course will explore the narrative and formal hallmarks of English, French, Indigenous, and diasporic Canadian narrative films by concentrating on the creative energies of influential filmmakers (Michel Brault, Patricia Rozema, Atom Egoyan, Mina Shum, David Cronenberg, Jeff Barnaby, Tracey Deer, Graham Foy) and independent and regional film co-ops (Winnipeg Film Group, NIFCO). Students will learn and interrogate the key debates and themes in Canadian cinema developed in its scholarly canonization as well as the historical, cultural, industrial, economic, and social factors that led to the emergence of Canadian narrative cinema (institutions like the National Film Board, Telefilm, TIFF).

Dovetailing our examination of the industrial and artistic struggle to establish Canadian narrative cinema and its study will be a consideration of various pivotal social, cultural, political, and ecological crises (October Crisis, Oka, the ongoing climate crisis).

Day and time: Monday and Wednesday 10:00 - 14:00
Instructor: Meghan Romano
Distribution Requirement: Humanities
Breadth Requirement: 1. Creative and Cultural Representations


Group E: History and Nation

CIN371H1S - (New) Media Aesthetics

Throughout this course, we will pivot dialectically between postwar media practices and mediated artistic practices of the contemporary moment. We will begin investigating texts grounded in the history of postwar aesthetics more broadly before shifting our focus to the imbrication of moving image media and other technological forms. By making note of the charged political landscape of the 1960s and 70s, we will underscore the salience of postwar objects in our highly mediated present. The course pairs historical and theoretical texts, where we centralize issues pertaining to conceptualizations of temporality, phenomenology, and affect. Some historical texts on the syllabus include Pamela Lee’s Chronophobia (2004), Branden W. Joseph’s Beyond the Dream Syndicate (2008), and Gregory Zinman’s Making Images Move (2020). For the more theoretical texts, we will read Fred Moten, Vivian Sobchack, Scott Richmond, Mark B.N. Hansen, Sianne Ngai, Eve Kosofsky Sedgwick, and others. As we see where these texts overlap, we will further crystallize our understanding of the numerous ways aesthetics figure in new media forms and the political stakes for formal analysis. For our aesthetic objects, we will begin with critical post-WWII pieces by Andy Warhol, James Baldwin, Yoko Ōno, Bridget Riley, Tony Conrad, Alvin Lucier, and Nam June Paik. The course will move along the latter half of the twentieth century to the contemporary, as we consider works by Ulysses Jenkins, William PopL, JaTovia Gary, JJJJJerome Ellis, Nagata Kabi, and Andy Slater. While these texts and objects may seem disparate, we will begin to articulate how they share commonalities, not only in their refusal of the strictures of modernist medium specificity but in their embrace of abstract forms. We will pinpoint why this matters and what is at stake here—especially for marginalized practitioners.

Day and time: Monday and Wednesday 15:00 - 19:00
Instructor: Andi Gilker
Prerequisite: CIN105Y1
Distribution Requirement: Humanities
Breadth Requirement: 1. Creative and Cultural Representations

CIN378Y0 - Black Britain

The course is offered through the Summer Abroad program. Please visit their website for details and the application form. Application deadline is February 1, 2024. 

This course explores Black British cinemas while examining categories of race and nation specific to post-Imperial Britain and its Black diasporic subjects’ world-making. Institutional practices and networks that have shaped the development and aesthetics of Black British film culture from the 1960s to the present, will be highlighted, when, in the words of Stuart Hall, filmmakers sought to “find a new language” to challenge post-war norms and culture that led to seismic shifts towards imagining postcolonial Britain. Studying Black British media on UK soil offers the opportunity to be immersed in the cultural ethos of Black Britain. We will experience locales and re-visit histories that, in part, inform deeper understanding of the unique film and moving-image practices under study. Topics will include London as a post-imperial migrant city, “political Blackness,” Black Power and black music’s transnational remit, Black film collectives and aesthetics, among other topics. Media objects will range from documentary, Art cinema, television, to moving image installations.

In our field trips we will literally trace Black presence in Britain, beginning with an overnight trip to Liverpool’s International Slavery Museum. This trip will also include exploring the Liverpool Art Biennale and a Beatles walking tour. Our two trips to London will consist of a Black History bus tour, visits to the Museum of London Docklands and various venues that feature works by Black artists or register the existence of Black Britons, ranging from Tate Britain, Sir John Soane’s Museum to Autograph, among additional exhibitions that consider contemporary issues of Blackness and the image in Britain. We will begin the course by exploring African artefacts culled during Britain’s Imperial era housed at Pitt Rivers Museum, Oxford.

Instructor: Kass Banning
Distribution Requirement: Humanities
Breadth Requirement: 1. Creative and Cultural Representations