Mission Statement:
Regent University serves as a center of Christian thought and action to provide excellent education through a
Biblical perspective and global context equipping Christian leaders to change the world.
SECTION 1: COURSE OVERVIEW
Regent University
School of Communication and the Arts
CTV604 Redemptive Cinema - 3 hours
Spring Semester
January 11 to March 8, 2016 (8 weeks)
Location: Distance
Instructor:
Location:
Office hours:
Phone:
Fax:
Email:
Andrew Quicke
Distance
Monday 2-5. Wednesday 2-5. Plus by appointment any day.
757-352-4226
757-352-4291
andrqui@regent.edu
Communications Policy
Response time for emails is usually 24 hours but not at weekends. Preferred method of contact is email.
Course Description
CTV 604 Redemptive Cinema (3): Historical/critical investigation of the production of religious films
both for specialized evangelistic and didactic purposes, as well as the religious dimensions of the secular
film industry. Study for the latter will focus on the works of Bergman and modern ethical Hollywood
directors such as Allen, Spielberg and Beresford. An online section of the class is offered for students
who can verify access to the films required.
Program Outcomes
MA in Cinema-Television, Concentrations in Production and Producing
1. The student will be able to integrate their Christian faith into their professional-quality media
work.
2. Students will be able to evaluate film and television theories and aesthetics
3. Students will be able to conceptualize and produce scripts for short format productions.
4. Students will be able to analyze film and television through a historical-critical lens and a
Christian worldview.
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5. Students will demonstrate the ability to apply production techniques to the process of creating
film, television, and web projects.
6. Students will be able to integrate appropriate personnel roles within the creation of various
media forms.
MFA in Cinema-Television, Concentrations in Producing and Directing
1. The student will be able to integrate their Christian faith into their professional-quality media
work.
2. Students will be able to evaluate film and television theories and aesthetics.
3. Students will be able to produce quality projects from conception to delivery in a breadth of
contemporary media formats.
4. Students will be able to analyze film and television through a historical-critical lens and a
Christian worldview.
5. Students will demonstrate the ability to apply research skills to the process of creating media
projects.
6. Students will be able to integrate appropriate personnel roles within the creation of various
media forms.
7. Students will be able to evaluate the major components of production.
8. Students will create a professional body of work competitive with the marketplace that includes
interaction with professionals in the field.
MFA in Film & Television, Concentration in Script and Screenwriting
 Graduate students who integrate their Christian faith into their professional quality media work.
 Incorporate applied film and television theories and aesthetics into multiple categories of
scripts.
 Produce quality projects from conception to script in a breadth of contemporary formats.
 Apply research skills to the process of creating media projects.
 Professionally pitch and present work in a manner that demonstrates a clear understanding of
the business side of script and screenwriting.
 Create a professional body of work competitive with the marketplace that includes interaction
with professionals in the field.
MA in Film & Television, Concentration in Scriptwriting
1. Graduate students who integrate and apply the Christian faith and Biblical truth and principles
to the study and practices of mediated communication.
2. Articulate the process and elements needed for the various aspects of writing for media, which
includes development, research, scriptwriting, character development, scene analysis, and
storyline development.
3. Incorporate applied film and television theories and aesthetics into scripts.
4. Explain current business practices in script and screenwriting, including model professional
pitching techniques.
Relationship of course to Regent’s Mission
Mission: Regent University serves as a center of Christian thought and action to provide excellent
education through a Biblical perspective and global context equipping Christian leaders to change the
world.
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1. Biblical Perspective: In this course, we will study film and television from a Biblical perspective,
understanding it as a meaningful expression of human experience, as a means of pursuing God’s
truth, and as an act of love and community. The readings and assignments focus on cultivating
your understanding of the art of film and television—what it means to communicate with others
through film and television in the written word and thus engage more deeply what it means to
be human. In our class dialogue, we will apply Biblical truth to the issues in film and television
that are addressed in the course. The writing assignments allow you to develop your skills in film
and television criticism, thus practicing the Biblical call to love others (even through the act of
creating film and television product brilliantly) and to live in community (even when the
community is cultivated through film and television texts).
2. Global Context: In this course, we will study film and television as an expression of the human
condition, a method of communicating human experience that crosses the boundaries of time
and place. In seeking to understand and appreciate film and television communication by
ourselves and others, we will cultivate love and empathy, both of which are essential to
interacting in a global context.
SECTION 2: COURSE REQUIREMENTS
Course Learning Outcomes (with match to Program Outcomes)
Upon completion of this course, students should be able to:
1. Discuss the nature, history and scope of religious films and explain the functions they perform for
diverse audiences and consumers. CLO1
2. Recognize and analyze religious symbols, images, myths, themes and codes as they appear and
function in film. CLO2
3. Distinguish various perspectives on religion in film and video, and discuss the dialectics of
Christian faith in cinematic, televisual and internet culture and storytelling. CLO3
4. Demonstrate an understanding of cultural variables (class, gender and race) as they play in
recreating religious faith in their own images. CLO4
5. Think critically about the relationship of personal faith to the cinema, and articulate a Christian
posture and vision about the phenomenon of film and television. CLO5
Course Objectives (specific tasks/assignments with match to CLOs)
Assignments
Assignment 1 first film critique for your group
Assignment 2 second film critique for your group
Assignment 3 third film critique for your group
Assignment 4 fourth film critique for your group
Assignment 5 fifth film critique for your group
Assignment 6 half term paper/illustrated Powerpoint
Assignment 7 final paper/illustrated Powerpoint
Assignment 8 Redemptive film visual recognition test
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Course Learning Outcomes
CLO1
CLO2 CLO3 CLO4
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
x
CLO5
X
x
x
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How Faith and learning will be integrated in the course.
This course will cultivate habits of thought and expression, both written and oral, in-class and online,
regarding movies and television programs and their impact upon our Christian faith, worship and action.
The course will help students to formulate strategies of infiltration, influence and redemption within the
film and television community with people of Christian faith, and with those who lack faith.
Course Procedures
Attendance – attendance at all classes and active participation is required in order to complete this
course. For a sixteen week course students must attend at least ten classes, or for distance students
signal their attendance by twice weekly emails. Note: international students should consult the Office
of International Student Services before registering for a Distance or Modular course.
Blackboard Requirements –
 Daily access to the Internet and email
 Microsoft Office (Word, Excel, PowerPoint, etc.) version 2007 or later
 The latest version of a web browser compatible with Blackboard and media players. For
assistance, visit the links provided in the Helpful Resources section of the course on Blackboard
or contact IT helpdesk via their website, phone 757-352-4076 or email at helpdesk@regent.edu
 Additional materials (PowerPoint files, quizzes, media and the like) will be provided via
Blackboard (see “use of Blackboard” below for more information.)
 Understand and adhere to the Regent Honor Code found in the Student Handbook. A persistent
link can also be found on Blackboard’s “RU Resources” tab.
Late Assignments will lose one grading point per day late. Assignments more than one week late will
not be graded.
NOTE: Technical difficulties when submitting to Blackboard will not be accepted unless documented by
the IT Helpdesk. The IT Helpdesk is your first point of contact for problems with Blackboard. Deadline
extensions will be allowed only when a system issue occurring on Blackboard’s side is documented by
Regent University IT department.
Class participation – regular participation in classroom and Blackboard discussions required each week.
Required Materials:




Baugh, Lloyd: Imaging the Divine; Jesus and Christ figures in Film; Kansas City: Sheed & Ward
1997. ISBN 978-1556-128639
Lindvall, Terry & Andrew Quicke: Celluloid Sermons: the Emergence of the Christian Film
Industry 1930-1986. New York: New York University Press 2011. ISBN: 978-0-8147-5324-8
Lyden, John (ed): The Routledge Companion to Religion and Film. New York: Routledge 2009.
Quicke, Andrew & Mark Keuthan: Cinematic Salvation: Christian and Religious Films 1987-2014.
First Draft, copyright asserted 2015. Available on Course resources section of Blackboard
Supplemental Materials:



Fraser, Peter: Images of the Passion; the Sacramental Mode in Film. Westport CT: Praeger 1998
Jewett, Robert: St.Paul Returns to the Movies; Triumph over Shame Grand Rapids, MI: William
B. Eerdmans publishing.
Lindvall, Terry: Sanctuary Cinema: Origins of the Christian Film Industry. New York: New York
University Press, 2007
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Method of Evaluating Student Performance
Assignment 1
Assignment 2
Assignment 3
Assignment 4
Assignment 5
Assignment 6
presentation
Assignment 7
Assignment 8
Assignments
Film critique one
Film critique two
Film critique three
Film critique four
Film critique five
Mid-term Nature of Jesus Films paper or PowerPoint
Final paper or PowerPoint presentation
Film recognition exam
TOTAL
Points
100
100
100
100
100
100
Weight
5%
5%
5%
5%
5%
25%
100
100
800
40%
10%
100%
Grading Scale
The following grading scale will be used:
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Grade
Percentage
Score
Quality
Points
A
960-1000
4.00
A-
930-950
3.67
B+
900-920
3.33
B
850-890
3.00
B-
810-840
2.67
C+
780-800
2.33
C
750-770
2.00
C-
710-750
fail
D+
680-700
fail
D
650-680
fail
D-
600-650
fail
F
0-590
fail
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Course Schedule
Week
1.
Jan 12 - 18
Readings/Resources Used
The Jesus Film Tradition Lyden
1-81, 109-130; Baugh 1-94,
Lindvall & Quicke 1-115.
Activities/Assignments
View From the Manger to the
Cross (1912) on YouTube Jesus of
Nazareth 1995; Son of Man (2014)
2.
Jan 19-25
Alternative Views of Incarnation
Lyden 329-367; Baugh 95-171,
Lindvall & Quicke 116-171
Gospel According to St Matthew
(1964) & Jesus of Montreal (1989)
3.
Jan 26February 1
4.
Feb 2-8
Churches making films Lyden
368-402: Lindvall & Quicke 171203.
African American Christian films
Lyden 420-465; Quicke &
Keuthan chapters 1&2.
Fireproof
Courageous
5.
Feb 9-15
Catholic Christian films Quicke &
Keuthan chapters 3-4
The Passion of the Christ (2004 R)
Tree of Life (2011)
6.
Feb 16-22
Protestant Christian films Quicke
& Keuthan chapters 5-6
God’s Not Dead (2014)
Heaven is for Real (2014)
7.
Feb 23-29
Music and Meaning
Lyden 368-393; Quicke &
Keuthan 7-8
Jesus Christ Superstar (1973)
Les Miserables (2012)
8.
March 1-7
Danish and Russian Belief
Quicke & Keuthan 9-10
Ordet (The Word) Dreyer 1955
Andrei Rublev Tarkovsky 1966
Heaven is for Real
Diary of a Mad Black Woman
Due Dates
Submit selfportrait & first
critique to
Blackboard
Sunday
17 Jan 11.59pm
2nd critique due
Sunday 24th Jan
@ 11.59pm
3rd critique due
Sunday 31st Jan
@ 11.59pm
Midterm exam
due Sunday
February
7 at 11.59pm,
4th critique due
Sunday 14 Feb @
11.59pm
5th critique due
Sunday February
21st at 11.59pm
Final exam due
Sunday 28th
February
@11.59pm.
Film Recognition
exam Sunday
March 6th @
11.59pm
Description of Assignments

Nature of Jesus Films paper: Discuss the nature of Jesus films and whether we need a new Jesus film
for the 21st Century. The paper must be 7 pages long, MLA style, double spaced with running head.
Due January 25

Five critiques of designated movies posted to Blackboard discussion: Each critique MUST quote at
least 3 scholarly sources.

Final Paper: 10 to 15 pages (no longer) discussing how film narrative can include important
theological truth. Quote copious examples from films you have seen this semester and earlier, and
quote at least 10 authorities you have consulted. Rationale is to demonstrate your ability to do
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original research, which is a vital aspect of scholarly achievement at the graduate and doctoral
levels.
ALTERNATIVES for Final Paper:
1. Provide a 40 slide Powerpoint (or Prezzi) presentation with embedded film clips on the same
subject and complete list of academic references (minimum 10).
– OR –
2. Research paper: Original Research into Current Christian Film Companies. The joy of graduate
school is that you now can become genuine scholars conducting original research for
publication. For a strictly limited number of students in this class, I am offering a chance to try
your hand at original research into the work of contemporary Christian film and video
companies. The work you do will provide material for a new book to be published by New York
University Press in 2016. In the past, I offered this opportunity to members of the CTV604
Redemptive Film Class, and those who took part greatly enjoyed and profited from the
experience and all earned good grades. This alternative is only for those who are highly
motivated to use internet and print resources for research in a new area; the work required
must be submitted in note form, fully referenced in MLA format. The instructor will assign
specific research topics for each individual student

Final exam: Consisting of a film recognition test of films listed in this syllabus.
Submission of Assignments
Unless otherwise instructed, all assignments for this course must be submitted via the “Assignment link”
found on Blackboard. All files should be submitted using the following naming convention:
YourName_Assignmentname_ (e.g. John Smith_Essay 1)
Papers should be in MS word format (.docx) compliant with MLA writing style guide; Scripts should be in
Final Draft software format.
No assignment will be accepted if submitted in any other way than Blackboard. Assignments are due no
later than 6am on Mondays. It is recommended that students give themselves a buffer of time before
the deadline to allow for trouble-shooting should your upload attempt fail. Students should check the
assignment submission page to verify that the submission was successful.
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Assessment Rubric for Film and Video Research Essays
These may be text only, or text on Powerpoints, or Prezzi, with film clips as examples.
Always use MLA.
A. Thesis: The student’s essay includes a focused,
B.
C.
D.
E.
F.
polished thesis and develops a unified, convincing,
logical argument about a literary text
Analysis and Textual Support: The student
demonstrates effective skills in analyzing film texts
and uses well-chosen, persuasive, and thorough
film textual (print or movie) support. This support
should include identifying a primary theme of a
film text, discussing at least one filmic element
(including characterization, symbolism, setting,
plot, color & mood, camera, audio & editing
qualities), and placing a film text into some type
of larger, societal context.
Reading Comprehension: The student
demonstrates familiarity with the vocabulary,
sentence structure, and stylistic features of a film
text and can effectively discuss them in writing.
The student demonstrates knowledge of plot
details and/or textual details, and the student
articulates an understanding of the meaning of the
film text.
Evidence of Sound Research: The student
demonstrates evidence of sound library research,
making use of at least ten academic sources. The
sources included are those retrieved by good
research strategies, including use of the MLA
International Bibliography and ILL. These sources
are not limited by type, date, or scope.
Integration of Research and MLA style: The
student displays an understanding of the purpose
and value of research by using secondary sources
to place the essay’s argument in the context of a
larger academic discourse. The student effectively
integrates the outside sources into the essay, using
signal phrases, summaries, paraphrases,
quotations, and MLA documentation correctly and
effectively.
Style/Mechanics: The student’s essay contains
several different types of sentences and uses
polished, effective language. The tone and
vocabulary are appropriate for the audience, topic,
and purpose. The essay conveys an effective,
distinct author’s voice. The essay is free of errors
in the convention of the English language.
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5
(advanced)
4
3
(average)
2
1
(deficient)
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
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Assessment Rubric for Film Critiques and Analyses
Limited to 1000 words using MLA format.
Thesis: The student’s critique includes a
focused, polished thesis and develops a unified,
convincing, logical argument about a film text.
Critiques should not be written as personal
opinions, but as third person analyses with at
least 3 academic sources.
5
(advanced)
4
3
(average)
2
1
(deficient)
Analysis and Textual Support: The student
demonstrates effective skills in analyzing film
texts and uses well-chosen, persuasive, and
thorough textual (& even film clip) support. This
support may include identifying a primary theme
of a film text, discussing at least one filmic
element (including characterization, symbolism,
setting, plot, tone, use of camera, audio & audio
post, lighting and editing conventions), and
placing a literary text into some type of larger,
societal context.
Reading Comprehension: The student
demonstrates familiarity with the visual
vocabulary, plot structure, and stylistic features
of a film text and can effectively discuss them in
writing. The student demonstrates knowledge of
plot details and/or film textual details, and the
student articulates an understanding of the
meaning of the film text.
Use of MLA format and style: The student
effectively integrates the primary film text
source into the essay, using signal phrases,
summaries, paraphrases, quotations, and MLA
documentation correctly and effectively. The
student formats the essay according to MLA
style.
Style/Mechanics: The student’s essay contains
several different types of sentences and uses
polished, effective language. The tone and
vocabulary are appropriate for the audience,
topic, and purpose. The essay conveys an
effective, distinct author’s voice. The essay is
free of errors in the convention of the English
language.
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
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SECTION 3: POLICIES & PROCEDURES
This section covers policies related to academic integrity, accommodations, and University policies and
procedures.
Christian Foundations of Academic Integrity
Biblical. Regent University affirms the Biblical commandment of “thou shalt not steal” (Ex. 20:15). In the
context of academic integrity, this must be understood in the larger framework of “love thy neighbor as
thyself” (Matt. 22:39) as well as “render therefore unto Caesar what are Caesar’s; and unto God what
are God’s” (Matt. 22:21). Paul writes from this framework of love and respect when he says, “Pay to all
what is owed them: taxes to whom taxes are owed, revenue to whom revenue is owed, respect to
whom respect is owed, honor to whom honor is owed” (Rom. 13:7). Each of these passages conveys the
social obligation to respect the dignity of both the personhood and the property of those in society. Paul
thus prescribes the biblical standard of honest, hard work as a key to respecting each other’s
personhood and property. In his letter to the Ephesians, Paul even provides counsel to those who have
committed theft, stating, “Let him labor, doing honest work with his own hands, so that he may have
something to share with anyone in need” (4:28). As such, the God of the Bible mandates a higher life
than the world requires, a life in which Christians participate in the love and dignity God holds for
himself as Father, Son, and Spirit. Indeed, even as Christ honors and acknowledges the will of his Father
and the works of his Spirit, so should Christians honor and acknowledge the wills and works of those
that provide opportunities to edify their minds and hearts with the knowledge and wisdom of sound
scholarship. In doing so, Christians follow the biblical precept of integrity that is founded on love and
respect and enables them to learn both from one another and those outside the faith.
Philosophical. Regent University also affirms the necessity of recognizing the classical virtues when
deriving a foundation for academic integrity, particularly the virtue of diligence. The virtues dictate that
researchers should consider morality first. In other words, one’s sense of expediency must always
follow from that which is right, not from that which is convenient. Cicero comments that, in order to act
morally, individuals must act in a manner that prevents themselves from being placed in a position
where they must choose between convenience and morality, or, stated differently, into a position
where they “consider one thing to be right but not expedient, and another to be expedient but not
right” (102). The virtues, therefore, require diligence in order to act morally upright—diligence to plan
ahead, diligence to rationally consider the context of the moral situation, and diligence to act biblically
not just ethically. For that which is ethical to the world is never necessarily moral before Christ. (Cicero,
Marcus Tullius. On Moral Obligations. Trans. John Higginbotham. London: Faber and Faber LTD, 1967.
Print.)
Legal. Finally, Regent University affirms the necessity of equipping students for the reality of functioning
within a society bound by laws, including copyright laws. Paul speaks clearly about a Christian’s
responsibility to abide by the laws of the land. He concludes that authority is ultimately from God, so
believers must work within that God-ordained system (Rom. 13). Thus, in mastering the art and science
of proper attribution of sources, students are participating in the Biblical tradition of exhibiting
reverence for the divine institute of law as well as giving honor where honor is due.
Accommodations for Students with Disabilities The policy and intent of Regent University is to fully and
completely comply with the Americans with Disabilities Act of 1990 (ADA), the Rehabilitation Act of
1973, and the Americans with Disabilities Amendments Act of 2008, to the extent that they apply to the
university. Regent University will not discriminate against an otherwise qualified student with a disability
in the admissions process, or any academic activity or program, including student-oriented services.
Regent University will provide reasonable accommodation to the known physical and mental limitations
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of a qualified individual with a disability, unless to do so would impose an undue hardship on the
operation of the university, or unless it would fundamentally alter a degree or course requirement.
Qualified students must request reasonable accommodations for disabilities through the Disability
Services Coordinator in Student Services.
For information about student records, privacy, and other University policies and procedures, students
are directed to the most recent version of the Student Handbook located at
http://www.regent.edu/admin/stusrv/docs/StudentHandbook.pdf
End.
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