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 & the Arts
CTV 505 AESTHETICS FOR THE CONTEMPORARY COMMUNICATOR (3)
Spring 2016
Dates March 14 – May 7th 2016 (8 weeks)
Location: Distance
Instructor: Stuart Bennett (Professor of Reference Andrew Quicke)
Location: COM 259 / Online
Office hours: by arrangement
Email: stuaben@regent.edu, andrqui@regent.edu
In the subject line of your email, please include the course number (e.g. CTV505) and have your full
name in your email signature. Note: All students are required to keep their mailing address, e-mail
address, and telephone numbers up to date in GENISYS to facilitate communication between instructors
and students.
Communications Policy
Response time for emails is 24 hours minimum and 48 hours maximum. The preferred method of
contact is by attending the office hours or by appointment.
Welcome to CTV 505; a clear knowledge understanding of aesthetics will make your visual
communication style so much more effective. This is a fun course with a lot of student participation in
creative projects using PowerPoint and Prezi. I know many of you do not like reading, but the three
textbooks I have chosen contain great wisdom, and I cannot hope to cover as much in class and with
PowerPoints. So please, please, read them. Also remember on time film critiques submitted on the 3rd
and 17th of April and the 1st of May are very important.
SHORT BIO
Andrew Quicke studied for his BA and MA at Oxford University, UK, and did later study in Hollywood for
two Faculty diplomas; the Directors Guild of America (DGA) and Academy of Television Arts and Sciences
ATAS; he was also a member of the British Academy of Film and Television Arts and the Royal Television
Society. He began his successful international career as a film and television writer, director and
producer for 27 years at BBC, working in the famous Ealing film studios, then later for Reuters Visnews
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and for his own company Kensington Film Services. He was VP Programming for Clearview Cable in
Bangkok, Thailand, and News Bureau Chief for CBN in Jerusalem and Beirut. He is author of 4 books on
film and television, and over 50 peer reviewed academic papers. He believes that writing, directing and
producing film and television can be one of the most rewarding God-given careers you can have. His
professional life took him to some 44 different countries; every summer he and his wife go to their
apartment in the medieval walled town of Anghiari in Tuscany, Italy to write and reflect on God’s
goodness. See full bio at andrewquicke.com
Stuart Lachlan Bennett earned a BA in Graphic Design and film at Leeds University, UK and an MFA in
Script and Screenwriting from Regent University. His film and television career began in England where
he worked as a film editor for BBC Television and graduated from the BBC film-training program at the
prestigious Ealing Film Studios in London. He has many film and TV credits to his name and won a Telly
Award for best documentary for the Death at Antietam episode of the TLC Archaeology series in 1994.
International productions have given him the privilege to produce in more than 30 countries for TV
networks such as Chinese Central TV, Russia’s Channel 1 and Japan’s NHK. He has also worked for
companies in the USA such as Discovery, ABC and The Christian Broadcasting Network. He currently
writes, produces and directs independent films through his nonprofit film company, Lachlan Creative
Group (www.lachlancg.org). More information is available on his IMDb page:
http://www.imdb.com/name/nm5900933/
Course Description
Aesthetic experience in various media, including the relationships between morality and art, between
beauty and truth seen through the lens of the Christian faith, provide an emergent media literacy.
Themes from Scripture:
I Chronicles 1:10: Give me wisdom and knowledge that I may lead this people, for who is able to
govern this great people of yours?
I Timothy 3:13: Those who have served well gain an excellent standing and great assurance in
their faith in Christ Jesus
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.
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.
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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.
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 Aesthetics in filmmaking from a Biblical
perspective, understanding it as a meaningful expression of human experience, as a means of
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pursuing God’s truth, and as an act of love and community. The readings and assignments focus
on cultivating your understanding of the act of filming—what it means to communicate with
others through the medium of film and video, and thus engage more deeply what it means to be
human. In our class dialogue, we will apply Biblical truth to the aesthetics of narrative and
documentary film that are addressed in the course. The writing and Powerpoint assignments
allow you to develop your skills in effective descriptive and critical writing, thus practicing the
Biblical call to love others (through the act of writing well) and to live in community when the
community is cultivated through film and television communication.
2. Global Context: In this course, we will study aesthetics 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. The films chosen for critical study assessment come from many countries, including
France, Germany, Sweden and the United Kingdom.
SECTION 2: COURSE REQUIREMENTS
Course Learning Outcomes
Upon completion of this course, students should be able to:
1. Identify the aesthetics of film and television from a Christian perspective;
Assessment: Half term Aesthetics test April 10
2. Solve the challenge of writing about film and television from an academic Christian perspective,
based on textbooks and class power points.
Assessment: diagnostic essay on Citizen Kane due Sunday, March 20th at 11.55pm
3. Identify the screenplay structures of the narrative filmmaker from a global perspective.
Assessments: three 1000 word Blackboard critiques of designated films, due on 3rd and 17th of
April and the 1st of May
4. Students will integrate their faith and their learning from a theological viewpoint using
Johnston’s textbook Reel Theology.
Assessment: research paper/presentation due Sunday, April 24th
Course Objectives (specific tasks/assignments with match to CLOs)
Assignments
Citizen Kane diagnostic essay
Discussion Boards: 3 critiques
Half term aesthetics test
Final paper
Film recognition test
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Course Learning Outcomes
CLO1
CLO2 CLO3 CLO4
x
x
x
x
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INTEGRATION OF FAITH
The overall faith goals for this class are that students should construct their faith and their learning
within a framework of global competency. The course is a graduate level theoretical and historical study
of narrative storytelling through the medium of motion pictures and television from a Christian
perspective. Strong emphasis is given to the application of Christian worldviews to contemporary
communication.
Course Procedures
Attendance & Participation
Attendance is required in order to complete this course. Students failing to attend a minimum number
of campus class meetings will automatically fail the course unless arrangement is made with the
professor to take an “Incomplete” grade in order to complete the course at a later date in accordance
with University policy (see student handbook for more information about withdrawing from a course or
the University or for incomplete grades). To prevent automatic failure of a course, the minimum class
attendance is as follows:



For a 16 week course: Must attend at least 9 weeks of campus class meetings.
For a 10 week course: Must attend at least 6 weeks of campus class meetings.
For a 5 day Modular (Intensive) course: Must attend all 5 days of campus class meetings.
Note: International students should consult the Office of International Student Services for how
immigration status may be impacted if you fail to meet attendance requirements for this course. All
students should consult the Financial Aid office for information on how their funding may be
impacted as well. International students should consult the Office of International Student Services
before registering for a Distance or Modular course.
In addition, the following requirement applies to this course:
In the event of an emergency, it may be necessary for Regent University to suspend normal operations.
During this time, Regent University may opt to continue delivery of traditional classroom instruction
using the Blackboard Course Management System. It is the responsibility of the student to monitor the
course Blackboard site in the event of campus closure.
Blackboard Requirements
Blackboard will be used to aid communication and delivery of extemporaneous and other content as the
semester progresses. We may also utilize the Discussion Board to extend our in-class discussions.
Participation in Blackboard does not supplant course requirements for attendance or class participation.
Therefore, while access to and use of Blackboard is required for this course, it should not be seen as a
surrogate for class attendance or other course requirements. Also, please keep the following in mind:

All discussion posts should be scholarly in nature and respectful of colleagues.
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
Students are expected to check the Announcements section of Blackboard each week beginning
one week before the start of the course.

Students must keep their e-mail address current in Genisys in order to receive communications
from Blackboard and the instructor. Students are expected to check their Regent e-mail daily to
ensure timely receipt of messages from the professor.
Unless otherwise instructed, all assignments for this course must be submitted via the “Assignment
Link” found in 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 the MLA writing style
guide.
Scripts should be in Final Draft software format.
Unless otherwise stated in Blackboard, no assignment will be accepted if submitted via any method
other than Blackboard. Assignments are due no later than 11:59 pm on Sunday. 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 look at the assignment submission page to verify that the
submission was successful.
Late assignment penalties
Papers will lose points for every day their paper is late. Papers more than 2 weeks late will not be
marked.
NOTE: Technical difficulties when submitting to Blackboard will not be accepted unless documented
by the IT Help Desk. The IT Help Desk 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.
Required and Supplemental Resources
Students are responsible for acquiring the following books and materials for this course before the first
class meeting:
Block, Bruce: The Visual Story: Creating the Visual Structure of Film, TV and Digital Media 2nd
edition. Focal / Elsevier. ISBN-13: 978-024008890
Johnston, Robert K.: Reel Spirituality 2nd Edition: Grand Rapids, MI Baker Academic:
ISBN13: 978-0801031878
Prince, Stephen: Movies and Meaning. 2nd edition. Boston, Allyn & Bacon
ISBN 13: 978-0-205-65308-9
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Note: The School has partnered with the Blackboard online Bookstore to have textbooks
available for purchase for all students, including distance students.

All students need 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 in Blackboard
or contact IT Helpdesk via their website, phone at 757-352-4076, or email
helpdesk@regent.edu.

Additional materials (e.g., PowerPoint files, quizzes, media, and the like) may be provided via
Blackboard. Students are responsible for the information and materials distributed in class and
on 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 in Blackboard’s “RU Resources” tab.
Additional Recommended Course Materials:
Lyden, John: The Routledge Companion to Religion and Film. Oxford UK 2009
ISBN13: 978-0415448536

Other resources such as writing style guides, Blackboard tutorials, University policies, IT
Helpdesk, and information may be accessed via the “RU” and “Helpful Resources” tabs in
Blackboard as well as in the Helpful Resources section of this course.
Method of Evaluating Student Performance
Assignments
Citizen Kane diagnostic essay
Discussion Boards: 3 Critiques
Half Term aesthetics test
Final paper/Powerpoint
Film Recognition Test
Participation
TOTAL
Weight
10%
30%
10%
35%
10%
5%
100%
Film and Video Research Essays
These may be text only, Powerpoints or Prezzi with film clip examples always use MLA.
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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
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 (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
Assessment Rubric for 1000 word film critiques and analyses; usually limited to 1000 words
Use MLA format
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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.
5
4
3
2
1
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
Grading Scale
Grade Percentage Quality
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Score
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
C-
71-75
1.67
D+
68-70
1.33
D
65-68
1.00
D-
60-65
0.07
F
0-59
0.00
Course Schedule
Week
WEEK 1
Mar. 14
Readings/Resources Used
Required Reading:
Read :Block 1-133 : Prince 1-47
Johnson 25 - 39
Required Viewing:
Citizen Kane (1942) Dir. Orson Welles.
See on Netflix (DVD only) DVD, Amazon
instant video, YouTube, ITunes, Google
play
WEEK 2
Mar. 21
Activities/Assignments
Film Structure: Writing about
movies
The production process, the role
of the director, time and space in
cinema. The theological
justifications for movie and
television watching and
participation.
Rear Window (1954) Dir. Alfred
Hitchcock. See on Netflix DVD, Amazon
Instant, YouTube, Itunes, or Google play
We will examine the aesthetics
and techniques of the classic film
Citizen Kane, and discuss the
challenge of writing about this
film.
Required Reading:
Read: Block 136-270, Prince 48-88
Johnson 41 - 53
Cinematography
Aesthetics of picture composition;
use of color, function and
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Due Dates
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Required Viewing:
Manhattan (1979) Dir. Woody Allan
The Godfather Pt2 (1974) Dir. Francis
Coppola. See on Netflix DVD, Amazon
Instant, YouTube, Itunes, or Google play
composition, object size & Image
size. Forces within the screen and
the interplay of screen forces.
Design concepts and costumes,
sets, miniatures.
Post paper on Aesthetics of
Citizen Kane
Begin reading required materials
& watch required films for next
week.
WEEK 3
Mar. 28
Required Reading:
Read: Block 271 –end, Prince 89-118
Required Viewing:
2001 Space Odyssey (1968) Dir.
Stanley Kubrick.
The Terminal (2004) Dir. Steven
Spielberg. See on Amazon Instant
video, YouTube, Google play
WEEK 4
Apr. 4
Required Reading:
Read: Prince 119 – 147, 232 - 289
Johnson 135 - 162
Required Viewing:
Black Swan (2010) Dir. Darren
Aronofsky.
Memento (2001) Dir. Christopher
Nolan. See on Amazon Instant Video,
YouTube, I tunes, Google play
Production Design
Acting: Shooting out of continuity,
amplification of gesture and
expression, lighting and lenses.
Editing: Continuity, dramatic
focus, tempo and mood
Post first 1000 word critique
Alpha: The Godfather Pt2
Bravo: 2001 Space Odyssey
Charlie: Rear Window
Required Reading:
Read: Prince 147 – 231, Johnson 163 –
183
Required Viewing:
Run Lola Run (1998) Dir. Tom Twyker
See on Netflix DVD only, Amazon
Instant, YouTube, Google play
Casablanca (1942) Dir. Michael Curtiz
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Sunday,
April 3
Acting, and Design and Nature of
Narrative in film.
Literal and non-literal sounds,
dialogue, direct address and
narration. Outer orientation of
sound; space, time and situation.
Classical Narration; Genres
Gangster, Musical, Horror, Science
Fiction, War Film, romantic
comedies, film noir.
Post half term aesthetics test
paper to Blackboard.
WEEK 5
Apr. 11
Paper on
Aesthetics
of Citizen
Kane.
Due
Sunday,
March 27,
at
11.55.pm
Editing: Making the Cut and
Principles of Sound Design
Realism: Fictional realism,
historical realism, Expressionism:
Fantasy: Self-reflexivity
Post second 1000 word critiques
Sunday,
April 10
Sunday,
April 17
Alpha: Black Swan
Bravo: Casablanca
Charlie: Run Lola Run
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WEEK 6
Apr. 18
Required Reading:
Read: Prince 290 – 343, Johnson 55 134
Christian Worldview: Narrative in
Film; Modes of Screen Reality
Beautiful Mind (2001) Dir. Ron Howard
Post final research paper or
PowerPoint
Sunday,
April 24
The Shawshank Redemption (1994)
Dir. Frank Darabont
See on Netflix streaming, Amazon
Instant, YouTube, Google play
WEEK 7
Apr. 25
Required Reading:
Read: Prince 344 – end, Johnson 185 266
Required viewing:
Captive (2015). Dir. Jerry Jameson.
What Dreams May Come (1998)
Dir. Vincent Ward. See on Netflix DVD
only, Amazon Instant, YouTube, Google
Play
WEEK 8
May 2
Required Reading:
Johnson 266 - end
Required viewing:
Avatar (2009). Dir. James Cameron. See
on Amazon Instant, YouTube, Google
play
Film theory and Theology
Exposition and character, the role
of conflict. Discussion of the
challenges and duties of a writer
with a Christian worldview.
Post third 1000 word critique
Alpha: Captive
Bravo: Avatar
Charlie: What Dreams May Come
Sunday,
May 1
Conclusion of Aesthetics class
online film recognition test
Sunday,
May 8
Inception (2010 R) Dir. Christopher
Nolan see on Netflix DVD, Amazon
Instant, YouTube, Google Play
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
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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
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
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