UCC/UGC/ECCC
Proposal for Course Change
FAST TRACK
(Select if this will be a fast track item. Refer to Fast Track Policy for
eligibility)
If the changes included in this proposal are significant, attach copies of original and proposed
syllabi in approved university format.
1. Course subject and number: ENG 266
2. Units:
See upper and lower division undergraduate course definitions.
3. College:
Arts and Letters
5. Current Student Learning Outcomes of the
course.
4. Academic Unit:
3
English
Show the proposed changes in this column (if
applicable). Bold the proposed changes in this
column to differentiate from what is not
changing, and Bold with strikethrough what is
being deleted. (Resources & Examples for
Developing Course Learning Outcomes)
6. Current title, description and units. Cut and
paste, in its entirety, from the current on-line
academic catalog*
http://catalog.nau.edu/Catalog/.
Show the proposed changes in this column
Bold the proposed changes in this column to
differentiate from what is not changing, and
Bold with strikethrough what is being deleted.
ENG 266 WORLD CINEMA: AN
INTRODUCTION (3)
Description: An introductory survey of the first
one hundred years of cinema, including histories
and texts from traditionally underrepresented
areas such as Africa, the Middle East,
Australasia, Asia, and Latin America. Letter
grade only.
Units: 3
Requirement Designation: Cultural
Understanding
Liberal Studies Essential Skills: Critical Thinking
Prerequisite: ENG 105 or HON 190 or
instructor's consent
ENG 266 WORLD CINEMA: AN
INTRODUCTION (3)
Description: An introductory survey of the first
one hundred years of cinema, including
histories and texts from traditionally
underrepresented areas such as Africa, the
Middle East, Australasia, Asia, and Latin
America. Cross listed with CINE 266. Letter
grade only.
Units: 3
Requirement Designation: Cultural
Understanding
Liberal Studies Essential Skills: Critical Thinking
Prerequisite: ENG 105 or HON 190 or
Effective Fall 2012
instructor's consent
*if there has been a previously approved UCC/UGC/ECCC change since the last catalog year, please copy the approved
text from the proposal form into this field.
7. Justification for course change.
ENG 266/CINE 266 has become the new gateway course for the CINE minor, and for this
reason, we would to cross list the original ENG class with a new course, CINE 266, so that
students in the CINE minor can take it as part of their requirements; it will also be available to
students in the ENG major and minor.
8. Effective BEGINNING of what term and year?
FALL 2015
See effective dates calendar.
IN THE FOLLOWING SECTION, COMPLETE ONLY WHAT IS CHANGING
CURRENT
Current course subject and number:
PROPOSED
Proposed course subject and number:
Current number of units:
Proposed number of units:
Current short course title:
Proposed short course title (max 30 characters):
Current long course title:
Proposed long course title (max 100 characters):
Current grading option:
letter grade
pass/fail
or both
Current repeat for additional units:
Proposed grading option:
letter grade
pass/fail
or both
Proposed repeat for additional units:
Current max number of units:
Proposed max number of units:
Current prerequisite:
Proposed prerequisite (include rationale in the
justification):
Current co-requisite:
Current co-convene with:
Proposed co-requisite (include rationale in the
justification):
Proposed co-convene with:
Current cross list with:
Proposed cross list with:
NONE
CINE 266
9. Is this course in any plan (major, minor, or certificate) or sub plan (emphasis)? Yes
No
If yes, describe the impact. If applicable, include evidence of notification to and/or response
from each impacted academic unit.
Comparative Cultural Studies; B.A. (elective), Cinema Studies Minor (elective), English; B.A.
(elective), English Minor (elective)
10. Is there a related plan or sub plan change proposal being submitted?
If no, explain.
This cross list will to require any related plan changes .
Effective Fall 2012
Yes
No
11. Does this course include combined lecture and lab components?
Yes
If yes, include the units specific to each component in the course description above.
No
Answer 12-15 for UCC/ECCC only:
12. Is this course an approved Liberal Studies or Diversity course?
If yes, select all that apply.
Liberal Studies
Diversity
Yes
No
Yes
No
14. Is this course listed in the Course Equivalency Guide?
Yes
No
15. Is this course a Shared Unique Numbering (SUN) course?
Yes
No
13. Do you want to remove the Liberal Studies or Diversity designation?
If yes, select all that apply.
Liberal Studies
Diversity
Both
Both
FLAGSTAFF MOUNTAIN CAMPUS
Scott Galland
Reviewed by Curriculum Process Associate
2/16/2015
Date
Approvals:
SEE ATTACHED
Department Chair/Unit Head (if appropriate)
12/1/2014
Date
Chair of college curriculum committee
Date
SEE ATTACHED
Dean of college
12/1/2014
Date
For Committee use only:
UCC/UGC Approval
Approved as submitted:
Approved as modified:
Date
Yes
Yes
No
No
EXTENDED CAMPUSES
Reviewed by Curriculum Process Associate
Approvals:
Effective Fall 2012
Date
Academic Unit Head
Date
Division Curriculum Committee (Yuma, Yavapai, or Personalized Learning)
Date
Division Administrator in Extended Campuses (Yuma, Yavapai, or Personalized
Learning)
Date
Faculty Chair of Extended Campuses Curriculum Committee (Yuma, Yavapai, or
Personalized Learning)
Date
Chief Academic Officer; Extended Campuses (or Designee)
Date
Approved as submitted:
Approved as modified:
Yes
Yes
No
No
From: Steven Rosendale
Sent: Wednesday, November 12, 2014 10:57 AM
To: Alexandra A Carpino; Rebecca Mercedes Gordon
Cc: Angela Lynn Hansen; Judith A Costello
Subject: Re: Crosslisting English 266 as Cinema Studies 266 (Eng 266 & Cine 266)
This all looks like a fine idea to me as long as we can agree to hold out seats for English majors if necessary.
Steven Rosendale, PhD
Professor and Chair, Department of English Northern Arizona University Box 6032, Flagstaff, AZ 86011-6032
PH: (928) 523-1967
FAX: (928) 523-7074
Steven.Rosendale@nau.edu
From: Jean M Boreen
Sent: Monday, December 01, 2014 6:03 PM
To: Stuart S Galland
Cc: Alexandra A Carpino
Subject: Re: Crosslisting English 266 as Cinema Studies 266 (Eng 266 & Cine 266)
Yes, I do.
Cinema Studies/English 266
World Cinema: An Introduction
Spring 2014 Monday 4-6:30 pm LA 120
Screenings: Monday 7-10pm, LA 120
Dr. Rebecca Gordon
Office: Liberal Arts 135
Effective Fall 2012
Office Hours: Tuesday 1-3pm, Wednesday 2:30-3:30 and by appointment
rebecca.gordon@nau.edu
Description
“Hollywood” is often the first thing that comes to mind when we think about cinema. While Hollywood
is a significant part of film history, it is only part of the story. In this course, after a brief review of the
silent period, the coming of sound, the “Golden Age” of cinema, and Italian Neo-Realism—the first
great post-war film movement, we will explore the global development of the first century of cinema
after the Second World War. We will view some of the work of Japanese master Akira Kurosawa,
explore the deeply influential films of the French New Wave, reconsider Italy and the new auteurs of
the 1950s and 1960s, and examine some of Swedish auteur Ingmar Bergman’s work, attending to the
philosophical impulses behind much of what we now call “European art film”. We will turn our
attention briefly to Hollywood, which was itself influenced by these international movements and
styles, before continuing our study of global cinema from India, Latin America, Great Britain,
Germany, Eastern Europe, China, Africa, the Middle East, Australia. We will examine film style and
the potentialities wrapped in the term “national cinema,” but also, as we draw the course to an end,
we will examine how “national cinema” has given way to “global cinema” and “transnational cinema,”
both in terms of who is on screen and behind the camera, and in terms of how films today are
produced at all. Through a combination of screenings, readings, lecture, and discussion, we will track
technological, economic, aesthetic, and sociocultural aspects of cinema and its relationship to major
art movements and the history of ideas. Students will learn how to analyze and think critically about
cinema and place it in a global context of modern culture.
Student Learning Outcomes
After taking this class students will demonstrate increased skill in the abilities:
To analyze films within the context of modern culture
To discuss and write about films on technical, historical, and cultural bases
To identify major figures and movements in the history of cinema
To research and synthesize information on modern global cinema.
Required Texts
A History of Narrative Film, 4th ed., David Cook. (HNF)
A Short Guide to Writing About Film, 8th ed., Tim Corrigan (W)
As appropriate, readings from HNF will be supplemented with readings posted to BbLearn.
Requirements. Grades will be based upon a point system of 500 points--200 from two examinations,
200 from four short movie reviews (50 pts each), and 100 points from attendance and participation,
including in-class discussion, quizzes, and discussion via BbLearn.
20%
40%
20%
20%
Participation and Attendance
4 Movie Reviews (10% per review)
Midterm exam
Final Exam
Examinations (2 at 100 points each) You must have a test booklet for exams (preferably the small
“Blue Books”), these are available in the bookstore. There will be two examinations during the
semester. Examinations will consist of a combination of identification, short answer and short essay
questions. Each examination will cover material presented in film screenings, lectures, in-class
discussion, and in the readings, except where noted. Lecture slides will be posted to BbLearn after
the lectures, but beware: the slides do not cover every point made during lectures and certainly not
every point made by you and your classmates during discussions!
Effective Fall 2012
Missed examinations. You may make up an examination only in the case of an excused absence,
which means an absence due to illness or family emergency; such absences must be formally
documented by the appropriate official (M.D., P.A.C., etc.). Missing an examination for reasons other
than illness and emergency—such as business meetings, conferences, work, weddings, regular
medical appointments—will not count as an excused absence except in the most extraordinary
circumstances and only when you obtain permission at least a week in advance of the examination
date.
Movie Reviews (4 reviews at 50 points each; 200 points)
You must write four 3-page movie reviews on films assigned for class (e.g. double-spaced, 12-point
font, 1-inch margins on all sides, MLA citation system). Reviews will receive a minus (no points);
check minus (unsatisfactory, 32 points); check (satisfactory, 38 points); check check (above average,
44 points); or check plus (good, 50 points).
Movie reviews are formal, thoughtful reflections that must incorporate the film terminology you will
learn in class and must thoughtfully and critically engage some aspect of the film(s); each review
should draw upon (i.e. quote or paraphrase) the text and/or film(s) for support. DO NOT simply
recapitulate information from lectures or class discussions. Papers that do so will be returned
ungraded. Efficiency and precision of argument, good use of pertinent evidence, and sound
organization count more than length. You may revise up to two Movie Reviews this semester, but you
will need to come in and talk to me about what “revision” really means, and demonstrate it, to earn a
higher grade. [Nota bene: “revision” does not mean “proof-reading”.]
Submitting Movie Reviews. All reviews must be turned in at the beginning of class on the date
assigned. Do not come to class late to hand in a paper; such papers would be counted as one day
late. If possible, please print your papers double sided to save paper.
Screenings. Though some of the films we will watch this term are short enough to view together
during lecture, several of them will be too long to watch during the lecture. Thus, after our class each
Monday night, and beginning at 7pm, I will show a movie in LA 120 (our classroom) followed by a
short discussion session. You are invited, and even encouraged, to attend these screenings. You are
responsible for seeing these films outside of class if you cannot make it to the Monday night
screening time. You will note that there are also often “recommended” films on the syllabus; I
encourage you to see these films on your own. The films we will watch for class are on reserve at
Cline Library or have been requested.
Online Discussion Questions/Comments: You will notice that participation and attendance
constitute a large portion of your final grade. To help earn that grade, and to make sure that all of you
are seeing the films you need to see, I will create a Discussion Forum on BbLearn for you to ask
questions about the week’s films or readings, where you can suggest clips of films that we might want
to analyze together in class, or where you can make substantive comments about a given film. To
earn credit for this portion of the class, post a comment/question at least eight (8) times, or about
every other week, and make sure your comments are substantive, your questions are thoughtful, and
your posts are offered clearly, originally, inquisitively. [Nota bene: “Originally” means these questions
and comments come from you, not the Web; if you watch the film with your grandfather and he has a
really great question, attribute that question to it’s source!]
Late Work. I will not accept movie reviews later than two class periods after the due date; three
points will be (deducted for each class day the paper is late. See the schedule below for dates on or
Effective Fall 2012
before which your writing assignments are due. Late papers will receive a grade, but few or no written
comments.
Academic Honesty and Integrity. Unfortunately, incidents of academic dishonesty, especially
plagiarism, have been increasing throughout colleges and universities in the United States.
Plagiarism is the act, intentional or unintentional, of using other people’s words or ideas as your own.
This trend in part results from the ready availability of papers and resources on the Internet. The
university, college, English Department, and I expect you to write your own papers and to provide full
and accurate citations for any specific ideas or language—words, phrases, sentences—that you take
from outside sources, including the Internet. Work that is found to have violated the NAU Academic
Honesty and Integrity policy (“the Dishonesty Policy”) shall earn a zero, and the Chair of English and
the Dean will be notified. https://policy.nau.edu/policy/policy.aspx?num=100601
Resources for Student Success
Successful university students take advantage of services and resources designed to boost learning
and achievement. NAU recommends that you begin with:
 MyFoundations- use this online tool to assess and develop required university skills at your
own pace (free for first-time freshmen at NAU Flagstaff)
 Supplemental Instruction- attend these course-specific review sessions whenever offered;
proven to reduce D’s and F’s
 Student Learning Centers- free drop-in, online, and individual tutoring appointments for math,
writing, and over 100 courses; available Monday through Friday
 ResourceConnect- your online central navigation point for all NAU student resources
For a full listing of University College services visit: http://nau.edu/University-College/
Attendance and Class Participation. English 266 will blend lecture, class discussion, small group
work, and close in-class analysis of the films. I expect you to attend every class session and
participate in the exchange of ideas about the films for that day. Because the Federal Government
and the State of Arizona request professors to take attendance in order to track such things as
financial aid eligibility and, alas, fraud, I will be taking attendance. That said, I understand that life
sometimes gets in the way of class. You have two discretionary absences for this class that do not
require explanation or documentation, assuming they are not on exam days. If you choose to use
them, do so wisely as you may be dropped from the course if you miss three (3) classes. ALSO
NOTE: Each absence will result in a 5-point deduction from your overall point total for the
class. The bottom line is that attendance in this class is VERY IMPORTANT.
Also note that you will be accountable on the examinations for the information introduced in class,
even if you were not in class. From a learning standpoint, class discussions and film screenings often
lead to insights for reviews and for further reflection. If you miss class for any reason, it is your
responsibility to find out from other students what you missed and to request from me any handouts
or assignment sheets that you may have missed. Office hours are not to be used as replacements
for missed classes.
Respectful Campus Policy. The English Department affirms its commitment to the joint
responsibility of instructors and students to foster and maintain a positive learning environment. This
commitment is reciprocal, which means that students and instructors should show respect for, and
extend courtesy to, one another. We expect everyone to exercise civility in expressing ideas and
responding to other people’s contributions to class discussion. Everyone should take care not to
use cell phones or iPods during class, either for conversations or for texting. Laptops in
Effective Fall 2012
class should only be used for taking notes, and no one should read non-course-related
materials, including the campus newspaper, in class. It is distracting and disrespectful to everyone
when others are chatting or otherwise not paying attention in class. If disruptions of any kind become
an issue, we will ask you to leave the classroom; repeated disruptions will lead to dismissal from
class. We’re all here to learn, and we hope the class itself will be sufficiently entertaining as well as
informative so that time concentrating on the course will be well spent.
Special Needs. If you have special needs, please inform me in the first week of the semester so that
we can make whatever arrangements are necessary to accommodate those needs in accordance
with the university’s policies and the Americans with Disabilities Act. If you know you will be absent
during the term due to a religious holiday, please let me know so by January 27.
Weekly Schedule
(Subject to change at instructor’s discretion.)
Week 1:
Monday (1/13)
Review: The Birth of Cinema to World War II
Screenings: Sherlock, Jr. (Buster Keaton, 1924; US)
“Duck Amuck” (Chuck Jones, 1953; US)
Clips from:
The Passion of Joan of Arc (Carl Dreyer, 1928; Denmark)
Sullivan’s Travels (Preston Sturges, 1941; US)
Rome, Open City (Roberto Rossellini, 1945; Italy)
Homework: Read the following by Monday January 27: HNF Chapter 1, “Origins”; Ch 7,
“The Coming of Sound and Color”; Ch 8, “The Sound Film and the American Studio
System”; Ch 11, “Wartime and Postwar Cinema”
View: See three of the following by Monday January 27. Read and use Tim Corrigan,
Chapter 2, as you do so.
Broken Blossoms, D. W. Griffith, 1919 (silent) Metropolis, Fritz Lang, 1927 (silent)
The Gold Rush, Charlie Chaplin, 1925 (silent) The Last Laugh, F. W. Murnau, 1924
(silent)
The 39 Steps, Alfred Hitchcock, 1934
M, Fritz Lang, 1931
It Happened One Night, Frank Capra, 1934
Pepe Le Moko, Julien Duvivier,
1937
Citizen Kane, Orson Welles, 1940
Grand Illusion, Jean Renoir, 1937
Bicycle Thieves, Vittorio de Sica, 1948
Rome, Open City, Roberto Rossellini,
1945
Week 2:
Monday (1/20)
MARTIN LUTHER KING, JR. HOLIDAY: NO CLASS, NO SCREENING
Week 3:
Monday (1/27)
Postwar Japanese Cinema
The effects of the war on Japanese cultural production
Screenings: Rashomon (Akira Kurosawa, 1950) 88 mins
Tokyo Story (Yasujiro Ozu, 1953) 136 mins
Homework – READ FOR 1/27
HNF 731-768
C Ch 1, Ch 3, Ch 5
Effective Fall 2012
Week 4:
Monday (2/3)
***Movie Review #1 DUE***
The French New Wave
Concept of “le camera stylo” and “les politiques des auteurs”
Screenings: The 400 Blows (Francois Truffaut, 1959) 99 mins
Hiroshima, Mon Amour (Alain Resnais, 1959) 90 mins
Homework – READ FOR 2/3
HNF 431-487
C Ch 4
Week 5
Monday (2/10)
Italian Cinema After Neo-Realism
Fellini, Antonioni, Pasolini
Screenings: La Strada (Federico Fellini, 1954) 108 mins
8 ½ (Federico Fellini, 1963) 138 mins
Homework – READ FOR 2/10
HNF 531-554
Week 6:
Monday (2/17)
***Movie Review #2 DUE***
Ingmar Bergman and Scandinavian Cinema
Allegory, Philosophy, Human Psychology
Screenings: Persona (Ingmar Bergman, 1966) 83 mins
The Seventh Seal (Ingmar Bergman, 1957) 96 mins
Homework:
HNF 555-571
Week 7:
Monday (2/24)
Indian Cinema
From Partition to Bollywood
Screenings: The World of Apu (Satyajit Ray, 1959) 105 mins
Bandit Queen (Shekhar Kapur, 1994) 119 mins
Homework:
HNF 768-776
Week 8
Monday (3/3)
Examination #1 (first half of class)
Back in the USA
Hollywood from 1952-1965
New American Cinema, Post-‘65
Homework:
HNF 387-428, 845-853 (recommended: read through page 871)
Week 9:
Monday (3/10)
Eastern European Cinema: Poland
Filmmaking behind the Iron Curtain
Screenings: Knife in the Water (Roman Polanski, 1962) 94 mins.
Ashes and Diamonds (Andrej Wajda, 1958) 103 mins.
Homework:
HNF 602-621
Effective Fall 2012
If you are interested in Czech animation and Czech cinema, 621-636
Recommended: “Germany: Das Neue Kino (The New Cinema),” 582-604
****SPRING BREAK MARCH 15-23****
Recommended: See a film by Werner Herzog! See at least one American film from between
1952-1975, anything from They Came From Outer Space to Taxi Driver
Week 10:
Monday (3/24)
Latin American Cinema: Cuba & Mexico
Political Revolution, Social Realism in Latin America
Screenings: Death of a Bureaucrat (Tomás Gutierrez Alea, 1966) 85 mins.
Los Olvidados (Luis Buñuel, 1950) 80 mins.
Homework:
HNF 795-819
Week 11:
Monday (3/31)
***Movie Review #3 Due***
Cinema in Sub-Saharan Africa
Two approaches to post-independence in sub-Saharan African filmmaking
Screenings: Yeelen (Souleymane Cissé, 1987) 105 mins.
Xala (Ousmane Sembene, 1975) 123 mins.
Homework:
HNF 819-826
Handouts
Week 12:
Monday (4/7)
Chinese Cinema After the Revolution
Screenings: Red Sorghum (Zhang Yimou, 1987) 91 mins.
A Better Tomorrow (John Woo, 1986) 95 mins.
Homework:
HNF 777-794
Handouts
Week 13:
Monday (4/14)
Cinema of the Arab World and Iran
Screenings: The Cow (Dariush Mehrjui, 1969) 100 mins
Taste of Cherry (Abbas Kiarostami, 1999) 95 mins.
Homework:
HNF 827-836
Handouts
Week 14:
Monday (4/21)
***Movie Review #4 Due***
Australia & New Zealand
Indigenous peoples, Post-colonial cinema
Screenings: Walkabout (Nicholas Roeg, 1971) 100 mins.
The Piano (Jane Campion, 1993) 121 mins.
Homework:
HNF 508-522
Effective Fall 2012
Recommended: “Great Britain,” 481-507
Week 15:
Monday (4/28)
National Cinemas/Global Cinema/Transnational Cinema
REVIEW FOR FINAL
Screening: The Fall (Tarsem Singh, 2006) 117 mins – after class
Clips TBA
FINAL EXAM
Week 17
Final Examination
Monday May 5, 3-5pm
NORTHERN ARIZONA UNIVERSITY
POLICY STATEMENTS FOR COURSE SYLLABI
SAFE ENVIRONMENT POLICY
NAU’s Safe Working and Learning Environment Policy prohibits sexual harassment and assault, and
discrimination and harassment on the basis of sex, race, color, age, national origin, religion, sexual
orientation, gender identity, disability, or veteran status by anyone at this university. Retaliation of any
kind as a result of making a complaint under the policy or participating in an investigation is also
prohibited. The Director of the Office of Affirmative Action & Equal Opportunity (AA/EO) serves as the
university’s compliance officer for affirmative action, civil rights, and Title IX, and is the ADA/504
Coordinator. AA/EO also assists with religious accommodations. You may obtain a copy of this policy
from the college dean’s office or from the NAU’s Affirmative Action website nau.edu/diversity/. If you
have questions or concerns about this policy, it is important that you contact the departmental chair,
dean’s office, the Office of Student Life (928-523-5181), or NAU’s Office of Affirmative Action (928)
523-3312 (voice), (928) 523-9977 (fax), (928) 523-1006 (TTD) or aaeo@nau.edu.
STUDENTS WITH DISABILITIES
If you have a documented disability, you can arrange for accommodations by contacting Disability
Resources (DR) at 523-8773 (voice) or 523-6906 (TTY), dr@nau.edu (e-mail) or 928-523-8747 (fax).
Students needing academic accommodations are required to register with DR and provide required
disability related documentation. Although you may request an accommodation at any time, in order
for DR to best meet your individual needs, you are urged to register and submit necessary
documentation (www.nau.edu/dr) 8 weeks prior to the time you wish to receive accommodations. DR
is strongly committed to the needs of student with disabilities and the promotion of Universal Design.
Concerns or questions related to the accessibility of programs and facilities at NAU may be brought to
the attention of DR or the Office of Affirmative Action and Equal Opportunity (523-3312).
ACADEMIC CONTACT HOUR POLICY
Based on the Arizona Board of Regents Academic Contact Hour Policy (ABOR Handbook, 2-224), for
every unit of credit, a student should expect, on average, to do a minimum of three hours of work per
week, including but not limited to class time, preparation, homework, studying.
ACADEMIC INTEGRITY
Integrity is expected of every member of the NAU community in all academic undertakings. Integrity
entails a firm adherence to a set of values, and the values most essential to an academic community
are grounded in honesty with respect to all intellectual efforts of oneself and others. Academic
integrity is expected not only in formal coursework situations, but in all University relationships and
Effective Fall 2012
interactions connected to the educational process, including the use of University resources. An NAU
student’s submission of work is an implicit declaration that the work is the student’s own. All outside
assistance should be acknowledged, and the student’s academic contribution truthfully reported at all
times. In addition, NAU students have a right to expect academic integrity from each of their peers.
Individual students and faculty members are responsible for identifying potential violations of the
university’s academic integrity policy. Instances of potential violations are adjudicated using the
process found in the university Academic Integrity Policy. The complete policy is in Appendix G of
NAU's Student Handbook.
RESEARCH INTEGRITY
The Responsible Conduct of Research policy is intended to insure that NAU personnel including NAU
students engaged in research are adequately trained in the basic principles of ethics in research.
Additionally, this policy assists NAU in meeting the RCR training and compliance requirements of the
National Science Foundation (NSF)-The America COMPETES Act (Creating Opportunities to
Meaningfully Promote Excellence in Technology, Education and Science); 42 U.S.C 18620-1, Section
7009, and the National Institutes of Health (NIH) policy on the instruction of the RCR (NOT-OD-10019; “Update on the Requirement for Instruction in the Responsible Conduct of Research”). For more
information on the policy and the training activities required for personnel and students conducting
research, at NAU, visit: http://nau.edu/Research/Compliance/Research-Integrity/.
SENSITIVE COURSE MATERIALS
University education aims to expand student understanding and awareness. Thus, it necessarily
involves engagement with a wide range of information, ideas, and creative representations. In the
course of college studies, students can expect to encounter—and critically appraise—materials that
may differ from and perhaps challenge familiar understandings, ideas, and beliefs. Students are
encouraged to discuss these matters with faculty.
CLASSROOM DISRUPTION POLICY
Membership in the academic community places a special obligation on all participants to preserve an
atmosphere conducive to a safe and positive learning environment. Part of that obligation implies the
responsibility of each member of the NAU community to maintain an environment in which the
behavior of any individual is not disruptive. Instructors have the authority and the responsibility to
manage their classes in accordance with University regulations. Instructors have the right and
obligation to confront disruptive behavior thereby promoting and enforcing standards of behavior
necessary for maintaining an atmosphere conducive to teaching and learning. Instructors are
responsible for establishing, communicating, and enforcing reasonable expectations and rules of
classroom behavior. These expectations are to be communicated to students in the syllabus and in
class discussions and activities at the outset of the course. Each student is responsible for behaving
in a manner that supports a positive learning environment and that does not interrupt nor disrupt the
delivery of education by instructors or receipt of education by students, within or outside a class. The
complete classroom disruption policy is in Appendices of NAU’s Student Handbook .
Effective Summer 2014
Approved UCC – 1/28/14
Approved UGC – 2/12/14
Effective Fall 2012