Cinema Studies |
201 McKenzie Hall, 541-346-8104
Cinema Studies Program
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Academic Deadlines
| Deadline |
Last day to: |
| April 2: |
Process a complete drop (100% refund, no W recorded) |
| April 8: |
Drop this course (100% refund, no W recorded; after this date, W's are recorded) |
| April 8: |
Process a complete drop (90% refund, no W recorded; after this date, W's are recorded) |
| April 9: |
Process a complete withdrawal (90% refund, W recorded) |
| April 9: |
Withdraw from this course (100% refund, W recorded) |
| April 10: |
Add this course |
| April 10: |
Last day to change to or from audit |
| April 16: |
Process a complete withdrawal (75% refund, W recorded) |
| April 16: |
Withdraw from this course (75% refund, W recorded) |
| April 23: |
Process a complete withdrawal (50% refund, W recorded) |
| April 23: |
Withdraw from this course (50% refund, W recorded) |
| April 30: |
Process a complete withdrawal (25% refund, W recorded) |
| April 30: |
Withdraw from this course (25% refund, W recorded) |
| May 21: |
Withdraw from this course (0% refund, W recorded) |
| May 21: |
Change grading option for this course |
 | You can't drop your last class using the "Add/Drop" menu in DuckWeb. Go to the “Completely Withdraw from Term/University” link to begin the complete withdrawal process. If you need assistance with a complete drop or a complete withdrawal, please contact the Office of Academic Advising, 101 Oregon Hall, 541-346-3211 (8 a.m. to 5 p.m., Monday through Friday). If you are attempting to completely withdraw after business hours, and have difficulty, please contact the Office of Academic Advising the next business day. |
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Expanded Course Description
| Vittorio Storaro, one of history’s great cinematographers, once defined cinematography as ‘…writing with light in movement. Cinematographers,’ he went on to say, ‘are authors of photography, not directors of photography. We are not merely using technology to tell someone else’s though, because we are also using our own emotion, our culture, and our inner being.’ For Storaro and many others, cinematography is an expressive art. This admittedly romantic definition of cinematography, must be contextualized as it is, after all, an industrial craft, made within a system based on hierarchy, mass-production, and the commercial imperative. Keeping both sides of cinematography in mind, this course will explore the story of cinematography in American cinema, working out how a complex art and craft changed across the decades, from hand-cranked cameras to digital work flows. The course will be a bit of a theory & practice mashup, utilizing both historical research and aesthetic analysis, as well as some low-fi creative exercises and the occasional industry guest speaker on all things camera and lighting. |
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