1
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
CTV609 topics in the Study of Film & Television: History of American Film pt2;
American Contemporary Film 1968-2014
Spring Semester
14 March to May 7, 2016 (8 weeks)
Location: Distance and Hybrid
Instructors:
Location:
Office hours:
Email:
Stuart Bennett & Andrew Quicke
Distance, with possible on campus hybrid classes if demand requires it
Andrew Quicke Mondays, Wednesdays, Thursdays 2pm to 5pm for campus students.
Phone Consultations with Adjunct Professor Stuart Bennett mornings by arrangement
stuaben@regent.edu
Communications Policy
Response time for emails is usually 24 hours but not on Sundays; preferred method of contact is email.
Course Description CTV 609 History of American Film part 2; Contemporary Film 1968-2014.
Historical Survey of the Film directors who developed American narrative cinema from the end of the
studio system, the turbulent 1960s, the blockbuster 1970s, the Conservative 1980s, the Rise of the
Independents in the 1990s, and the exciting developments of the 21st Century.
Program Outcomes (General)
Program Learning 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
Last updated: 3/12/16
1|P a g e
2
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.
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
1. Graduate students who integrate their Christian faith into their professional quality media work.
2. Incorporate applied film and television theories and aesthetics into multiple categories of
scripts.
3. Produce quality projects from conception to script in a breadth of contemporary formats.
4. Apply research skills to the process of creating media projects.
5. Professionally pitch and present work in a manner that demonstrates a clear understanding of
the business side of script and screenwriting.
6. 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.
PROGRAM OUTCOMES SPECIFIC TO THE CONTTEMPORARY AMERICAN FILM COURSE
Last updated: 3/12/16
2|P a g e
3
On completion of this course students should be able to:
1. Discuss the nature, history and scope of contemporary films and their directors, and explain the
functions they perform for diverse audiences and consumers
2. Recognize and analyze how contemporary directors use symbols, images, myths, themes, and codes
as they appear and function in film
3. Distinguish various perspectives on faith in film from individual directors, and discuss the dialectics of
Christian faith in cinematic culture
4. Demonstrate an understanding of how directors manipulate cultural variables (class, gender and
race) as they play in recreating new and traditional narratives.
5. Think critically about the importance relationship of personal faith (or lack of it) to contemporary
directors, and articulate a Christian posture and vision about the phenomenon, industry and business of
film.
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.
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 how directors use 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. This class studies exclusively American directors; other classes
offer studies of international film directors including British, French, Italian and Chinese
directors.
SECTION 2 – COURSE REQUIREMENTS
Course Learning Outcomes (with match to Program Outcomes)
Upon completion of this course, students should be able to:
Last updated: 3/12/16
3|P a g e
4
1. Discuss the nature, history and scope of narrative films and explain how their directors perform
for diverse audiences and consumers. CLO1
2. Recognize and analyze how American directors use symbols, images, myths, themes and codes
of aesthetics as they appear and function in film.
CLO2
3. Distinguish various perspectives of different directors as they approach faith 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 how directors manipulate cultural variables (class, gender and
race) as they play in recreating contemporary life and faith.
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 half term paper/illustrated Powerpoint
Assignment 5 revision
Assignment 6 final paper/illustrated Powerpoint
Assignment 7 contemporary film visual recognition
test.
CLO1
x
x
x
Course Learning Outcomes
CLO2 CLO3 CLO4
x
x
x
x
x
x
x
x
x
x
x
CLO5
X
x
x
x
x
X
X
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 an
eight week course students must attend at least six classes, or for distance students signal their
attendance by weekly email postings. 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.)
Last updated: 3/12/16
4|P a g e
5

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.
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:
Your Name_Assignment name_ (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 that Blackboard. Assignments are due no
later than 11.55pm on Sundays. 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.
Late Assignment PenaltiesLate 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 and Supplemental Resources
Author
Title
ISBN 13
Biskind,
Peter
Biskind,
Peter
Easy Riders,
raging bulls
Down &
Dirty
pictures
Cinema of
loneliness
Movies
that
Matter;
9780684857084
9780684862583
Kolker
Leonard,
Richard
97806848662583
9780829422016
Book
Ed./Year
1999
2004
2000
2006
Publisher
Required/Optional
Simon &
Schuster
Simon &
Schuster
Req.
Oxford Univ.
Press
Loyola Press
Req.
Req.
Req.
Supplemental:
Barsotti & Johnson: Finding God in the Movies: 33 films of Reel Faith. Baker Books 2004
Detweiler, Clive: Into the Dark; Seeing the Sacred in Top Films of the 21st Century: Baker Academic 2009
Fraser, Peter: Images of the Passion: the Sacramental Mode in Film. Westport CT: Praeger
Last updated: 3/12/16
5|P a g e
6
Johnson, Robert K. Reel Spirituality: Theology and Film in Dialogue 2nd ed. Baker Academic 2006
Marsh & Ortiz, eds.: Explorations in theology and Film. Oxford: Blackwell 1997
Price, Stephen: A New Pot of Gold: Hollywood under the Electronic Rainbow 1980-1989. Berkeley, CA:
University of California Press 2002
Reinhartz, Adele: Bible and Cinema: An Introduction. Routledge 2013
Method of Evaluating Student Performance
Assignments
Assignment 1
Assignment 2
Assignment 3
Assignment 4
Assignment 5
Assignment 6
film critique one
film critique two
film critique three
half term exam/Powerpoint Presentation
end of term exam /PowerPoint Presentation
film recognition exam
March 20
April 3
April 10
April 17
April 24
May 1
TOTAL
Points
100
100
100
100
100
100
1000
Weight
10%
10%
10%
20%
40%
10%
100%
Grading Scale
The following grading scale will be used:
Last updated: 3/12/16
Grade
Percentage
Score
Quality
Points
A
96-100
4.00
A-
93-95
3.67
B+
90-92
3.33
B
85-89
3.00
B-
81-84
2.67
C+
78-80
2.33
C
75-77
2.00
Fail
C-
71-75
1.67
Fail
D+
68-70
1.33
Fail D
65-68
1.00
Fail
D-
60-65
0.07
Fail F
0-59
0.00
6|P a g e
7
Course Schedule
NB: by signing up for this course, you agree to view “R” rated films; these are shown because of
screenwriting and technical brilliance. If you cannot watch “R” rated films, your instructor will
suggest alternative films.
Week 1: March 14 to March 20
The End of the Studio System
Required reading: Leonard: Movies That Matter; complete book
Required viewing: Bonnie & Clyde (1967: Arthur Penn);
2001 – A Space Odyssey (1968 Stanley Kubrick)
First critiques posted Sunday March 20 at 11.55pm
Week 2: March 21 to March 27
The Hollywood Blockbuster
Required reading: Kolker pp 3-105; Biskind: Easy Riders 13-224
Required viewing: Jaws (1975 – Steven Spielberg) Avatar (2009 – James Cameron)
Good Friday 25 March and Easter Sunday 27 March: no critiques required
Week 3: March 28 to April 3
Vietnam & Its After Effects: the Auteur Cinema
Required reading: Kolker: 106-261; Biskind: Easy Riders 225-315
Required viewing: Platoon (1986 Oliver Stone) & Taxi Driver (1976 Martin Scorsese)
Second critiques posted Sunday April 3 at 11.55pm
Week 4: April 4 to April 10
Auteur cinema: Heroes and Anti-heroes
Required reading: Kolker: 262-430; Biskind: Easy Riders 316-446
Required viewing: Nashville (1975 Robert Altman) O Brother Where Art Thou? (2000 Cohen Brothers)
Half term paper to be posted Sunday April 10th at 11.55pm
Week 5: April 11 to April 17
Guilty Secrets
Required reading: Biskind: Down & Dirty Movies 8-154
Required viewing: Crimes and Misdemeanors (1989 Woody Allen)
Eternal Sunshine of the Spotless Mind (2004 Michael Gondrey)
Last updated: 3/12/16
7|P a g e
8
Third critique to be posted by Sunday April 17 at 11.55pm
Week 6: April 18 to April 24
Reading Film through the Lens of Faith or Humanism
Required reading: Biskind: Down & Dirty Movies 155-307
Required viewing: Dead Man Walking (1995: Tim Robbins) The Green Mile (1999: Frank
Darabont)
End-of-term paper to be posted 11.55pm Sunday 24th April
Week 7: April 25 to May 1
Required reading; Biskind: Down & Dirty Movies 308-490
Required Viewing: Traffic (2001: Steve Soderbergh); Signs (2002- M.Night Shyamaian).
Visual Recognition exam to be posted 11.55 Sunday 1st May.
Week 8: May 2 to May 8
Keeping the Faith: Religious Messages in Theatrical Films
Required reading; Biskind 316-440
Required viewing: My Big Fat Greek Wedding (2002 Joel Wick)
Silver Linings Playbook (2012 David O Russell)
Fourth 1000 word critique to be posted Sunday 8th March.
1. Film Critiques and dates when they must be submitted.
1. Three one-thousand-word critiques submitted on Blackboard to the three or four members of your
group; time allowed one week. Value 10% each; total value 30% of grade
First viewing assignments to be critiqued by Sunday 20th March at 11.55pm
Alpha
Bonnie & Clyde (1967 Arthur Penn)
Bravo: Jaws (1968 Steven Spielberg 1975)
Charlie: 2001-A Space Odyssey (1968 Stanley Kubrick)
Delta:
Nashville (1975 Robert Altman)
Second Group viewing Assignments to be critiqued by Sunday 3rd April at 11.55pm.
Alpha: Platoon (1986 Oliver Stone)
Bravo: Taxi Driver (1976 Martin Scorsese)
Charlie: Oh Brother Where Art Thou? (2000 Cohen Brothers)
Delta: Avatar (2009: James Cameron)
Third Group viewing assignments to be critiqued by Sunday 10th April at 11.55pm
Last updated: 3/12/16
8|P a g e
9
Alpha: Crimes & Misdemeanors (1989 Woody Allen)
Bravo: Eternal Sunshine of the Spotless Mind (2004 Michel Gondry)
Charlie: My Big Fat Greek Wedding (2002 Joel Zwick)
Delta: Silver Linings Playbook (2012 David O Russell)


1. Half Term Paper By April 17 “discuss the work of a major American film director before the
year 2000 (Penn, Stone, Kubrick, Scorsese, Spielberg, Altman).
Must be 10 pages long, MLA style, double spaced with running head. 6 refs, Alternative to
written paper. 30 slide PowerPoint. Choose one outstanding director from the period 19681998. Both papers and slides must quote at least 6 academic sources. Value 20% of grade.
3.a. By Sunday April 24th final: major paper 20 to 25 pages: (no longer). “Discuss how one post
1999 individual director has contributed to our understanding of truth in the modern world. Quote
extensive examples from films you have seen and at least 10 authorities you have consulted.
Value 40% of grade
OR 3.b. Provide a 40 slide PowerPoint (or Prezzi) Presentation with embedded film clips on the
same subject, and complete list of academic references (minimum 10). If you are permitted to do
a team project, the rules specify that each student must cover a specified director in a 6 page
academic article with 6 references written by an individual, besides 10 refs and details of film clips
used. Value 40% of grade
OR 3.c. 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 2018. In Spring 2012 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. Value 40% of grade.
Rationale is to demonstrate your ability to do original research, which is a vital aspect of scholarly
achievement at the graduate and doctoral levels.
You are expected to play a full part in on-line discussions (or classroom) discussions. Please also
let me know if there are problems with Blackboard, or other communication difficulties. We want
to make this class as enjoyable as possible.
HOW TO SUCCEED IN THIS CLASS
Write excellent critiques and complete and post them within the 7 day window. Remain more
concerned with how the films express theological insights, but not so much with pure theology;
are the films you critique expressing truths about God and Jesus in contemporary, relevant and
even shocking ways?
For on-campus students:
If you choose to make presentations, these should not last more than 20 minutes for an
individual or 30 minutes for a group presentation, and in group presentations each member of the
group must provide a 6 page summary of their arguments with relevant sources.
Film and Video Research Essays
Last updated: 3/12/16
9|P a g e
10
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, polished thesis and develops a
unified, convincing, logical argument about a
literary text
B. 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.
C. 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.
D. 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.
E. 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.
F.
Style/Mechanics: The student’s essay
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
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.
Last updated: 3/12/16
10 | P a g e
11
The essay is free of errors in the convention
of the English language.
Assessment Rubric for 1000 word film critiques and analyses; usually limited to 1000 words;
use 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
Last updated: 3/12/16
11 | P a g e
12
SECTION 3 – POLICIES AND PROCEDURES
This next section covers policies related to academic integrity, accommodations, and University policies
and procedures.
SCHOOL OF COMMUNICATION AND THE ARTS MISSION STATEMENT
To prepare emerging and established Christian leaders to inspire, enrich and transform the media, the
arts, and the academy through excellence and innovation in scholarship and practice.
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.
Last updated: 3/12/16
12 | P a g e
13
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
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
Suggestions and amendments to Professor Stuart Bennett, email: andrqui@regent.edu.
First edition of this syllabus published 01/07/2016
Copyright Regent University 2016
Last updated: 3/12/16
13 | P a g e