Graduate Timetable

To register for these courses, please consult the Graduate Program Assistant.



F = Fall, S = Spring, Y = year-long course, H = half-course


2017-18 Course Offerings

CIN Courses (Core)

CIN1100HF: The Textual Object
Corinn Columpar
Tuesdays 10-12, Wednesdays 10-12
Location IN222 (Tuesdays), IN223 (Wednesdays)
(MAs only)
CIN1101HF: Theories and Practices of the Cinema
Kass Banning
Mondays 1-3, Tuesdays 1-3
Location IN223
(MAs only)
CIN1102HS: Key Developments in Film History
Brian Jacobson
Tuesdays 1-3, Wednesdays 4-6
Location IN223
(MAs only)
CIN1006Y: Major Research Paper in Cinema Studies
(MAs only)
CIN1007Y: Internship in Cinema Studies
(MAs only)
CIN2101HF: Pressures on the Cinematic
Angelica Fenner
Mondays 1-3, Thursdays 10-12
Location IN313
(PhDs only)
CIN2999HF: Research Seminar in Cinema Studies
Tuesdays 10-12, Wednesdays 10-12
Location IN223 (Tuesdays), IN313 (Wednesdays)
(Year 2 PhDs only)

CIN Courses (Elective)

*CANCELLED: CIN1005HS: Special Studies in Cinema: Postcoloniality and the Moving Image
CIN3006HS: Media and Philosophy: On Cronenberg & Villeneuve
Meghan Sutherland
Tuesdays 3-7
Location IN223
CIN3008HF: Topics in Film and Media History: Issues in Silent Cinema
Charlie Keil
Tuesdays 3-5, Wednesdays 1-3
Location IN223
CIN3010HF: Topics in Film and Media Theory: Adorno and Media Theory
Brian Price
Mondays 3-7
Location IN223
CIN3010HS: Topics in Film and Media Theory: Ordinary Media
Scott Richmond
Tuesdays 10-12 (new time), Wednesdays 1-3
Location IN223

Non-CIN Courses

The availability of these courses offered outside of the Cinema Studies Institute may be subject to factors outside our control. This is not an exhaustive list, and more Cinema-related courses will be added to this page soon. If there is a discrepancy between the times listed here, the host institution's website is assumed to be more up-to-date. Please visit their websites for more comprehensive information.

Department of English

Centre for Comparative Literature

Department of German Languages and Literatures

Sexual Diversity Studies

Women and Gender Studies

Department of History

SPA2304HF (Spanish & Portuguese, Fall): Latin American Cinema
Eva-Lynn Jagoe
Mondays 3-5
Location NF008

This course will investigate the principal films and directors of Argentina, Mexico, and Cuba. In each case the representation of national history and identity together with the relation between cinematic production and economic and social conditions will be examined. Latin American cinema has responded to revolution, military dictatorship, the restoration of democracy, the effects of economic change on rural and urban demographics, and the marginalization of minority populations. We will also consider how a recent focus on themes of gender, identity, race, and community have contributed to an increase in the transnational and cosmopolitan reception of Latin American film. Course will be taught in English, unless all students want it in Spanish.

FAH1756HF (Art, Fall): Acoustic Space
Joseph L. Clarke
Thursdays 10-1
Location SS6032

This course examines how sound has been creatively manipulated to articulate spatial relationships in modern architecture, sound art, soundscape compositions, and film soundtracks. The term “acoustic space” was popularized by Marshall McLuhan in the 1950s and 60s, but had earlier roots in psychology, architectural acoustics, and media theory. Under the conceptual framework of acoustic space, theorists and artists across various cultural fields have posed questions such as: How do individuals locate themselves in the world through listening? How can the physical environment be transformed through creative acoustic interventions? How might new and potentially far-flung communities be convened through sound? With the theme of acoustic space as a starting point, the course surveys a range of historical methods associated with the emerging discipline of sound studies and the diversity of ways in which the spatial behaviour of sound has been subject to artistic representation and transformation. 


Instructor: R. Bai
Time: Spring term, Wednesdays, 11-1
This course examines new forms of textualities and textual practices that are emerging in the digital era. It highlights an understudied dimension of the text, i.e. the medium that forms its material and technological infrastructure such as scroll, codex, book, CD, e-book, the Internet, and smartphone. The course starts with a historical investigation into the printed text and print culture. Then it moves on to the question of how digital technologies shape reading and writing as well as other text-based cultural practices. While the course revolves around the mediality of the text, it distances itself from technological determinism by stressing the facts that digital technologies are always embedded in and shaped by historically specific political, social, and cultural conditions. This course is designed for students who are interested in questions and issues related to literary production in the digital era and more generally the materiality of the text. Theoretical and scholarly works we will engage with in this course include, but not limited to, Understanding Media: Extensions of Man (McLuhan, 1964), The Nature of the Book: Print and Knowledge in the Making (Adrian Johns, 2000), Writing Machines (N. Katherine Hayles, 2002), Writing Space: Computers, Hypertext, and the Remediation of Print (Jay David Bolter, 2001), Bodies in Code: Interfaces with Digital Media (Mark Hansen, 2006), The Interface Effect (Alexander R. Galloway), The Language of New Media (Lev Manovich, 2002), Expressive Processing: Digital Fictions, Computer Games, and Software Studies (Noah Wardrip-Fruin, 2009).
Class participation (15%)
Discussion leader (15%)
Response Essay 1 (35%)
Response Essay 2 (35%)


GER1771H F Topics in German Cinema Studies: Visions of the Anthropocene
Time: Tue 2-6, Room: OH323
Instructor: Stefan Soldovieri
The course offers an overview of the history of East German cinema at key junctures and explores the complexities involved in conceptualizing film culture in the context of state socialism in the German Democratic Republic (GDR). The film screenings will provide the basis for considering issues of entertainment and politics, censorship, GDR cinema’s links to transnational cultural flows – and dialogue with the West German film industry in particular – as well as GDR film’s afterlife in a unified Germany post 1989. Readings in film history and cultural, film, and social theory. The screened films span all genres – from science fiction to historical epics and musicals.


GER 1780H S Topics in German Film History: Gender and German Cinema Revisited: Women’s Film Authorship in Neoliberal Times

Time: Mon 3-7, Room: IN223
Instructor: Angelica Fenner


Maren Ade’s recently acclaimed Toni Erdmann (2016) has brought renewed attention to women’s film authorship in Germany and a growing cadre of women directors making films that are engaging, intelligent, and deeply thought-provoking without being didactic. Their work accords with counter cinematic practices and aesthetics sometimes loosely identified under the ‘Berlin School’ moniker that emerged in the late 1990s in response to the changing social and economic landscape. Rejecting the mode of production and ideology underlying German blockbusters such as Downfall or The Lives of Others, some filmmakers have instead embraced realist aesthetics to explore everyday life worlds and subjectivities against the backdrop of eroded social democratic structures and post-Fordist labour policies.

Via readings in feminist film theory, new materialism, animal studies, gender and queer theory, and cultural studies, we will place these compelling contemporary productions into conversation with those of pioneers the feminist film movement of the 1970s, such as Helke Sander and Ulrike Ottinger. Echoes of that movement are, for example, evidenced in the way Maren Ade has leveraged her success to draw public attention to imbalances within the German film industry and called for gender parity in the distribution of subsidies. With an eye towards both continuities and divergencies in aesthetics, mode of production, and culture, we will investigate to what extent recent German and Austrian directors, e.g. Barbara Albert, Angela Schanelec, Valeska Grisebach, Tanja Turanskyj, and others share among themselves and/or with an earlier generation a common focus on disparate experiences of gender, sexuality, intimacy, and precarity. How does their work accord with such labels as ‘oppositional,’ ‘subversive, or ‘resistant’, and in what ways does it enact intersectional alliances with feminist, queer, anti-heteronormative and anti-racist projects?







Updated August 24, 2017