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
January 12 to April 27, 2015 (16 weeks)
Location: Online
Instructor:
Location:
Office hours:
Phone:
Fax:
Email:
Dr. Mark Keuthan
Blackboard Learning Management System
8a-5p M-F (by email, Facetime) and by appointment
757-352-4226 (Prof. Quicke’s Regent University office)
757-352-4291 (Regent University School of Communication)
markkeu@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 development of 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 with new distribution methods via streaming
and cell phones.
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.
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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.
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.
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PROGRAM OUTCOMES SPECIFIC TO THE CONTTEMPORARY AMERICAN FILM COURSE
On completion of this course students should be able to:
1. Discuss the nature, history and scope of contemporary films and explain the functions they perform
for diverse audiences and consumers
2. Recognize and analyze symbols, images, myths, themes, and codes as they appear and function in
film
3. Distinguish various perspectives on faith in film and video, and discuss the dialectics of Christian faith
in cinematic culture
4. Demonstrate an understanding of cultural variables (class, gender and race) as they play in recreating
new and traditional narratives.
5. Think critically about the relationship of personal faith to the cinema, 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 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)
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Upon completion of this course, students should be able to:
1. Discuss the nature, history and scope of narrative films and explain the functions they perform
for diverse audiences and consumers. CLO1
2. Recognize and analyze symbols, images, myths, themes and codes of aesthetics as they appear
and function in film.
CLO2
3. Distinguish various perspectives on 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 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
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:
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.
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
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
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.
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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
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: BOOKS
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
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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
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Additional source books:
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
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
Assignment 7
Assignment 8
film critique one
film critique two
film critique three
film critique four
film critique five
half term exam/PowerPoint presentation
end of term exam/PowerPoint presentation
final exam film recognition
TOTAL
Points
100
100
100
100
100
100
100
100
1000
Weight
5%
5%
5%
5%
5%
25%
40%
10%
100%
Course Schedule
REQUIREMENTS
1. By March 1 “discuss the nature of Jesus films and whether we need a new Jesus film for the 21 st
Century ”
 Must be 10 pages long, MLA style, double spaced with running head.

2. Five Blackboard 1000 word critiques of designated movies and in following week at least two
contributions to the on-line discussion. Each critique MUST quote at least 3 scholarly sources. Each
critique 4% of grade; responses 1% of grade. See submission dates below & on Blackboard Discussion
board.
3. By April 5:

Major paper 10 to 15 pages: (no longer). “Discuss 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 original research, which is a vital aspect of scholarly achievement at the graduate and doctoral
levels. Value 400 points.
ALTERNATIVES for Major paper:
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1. Provide a 40 slide Powerpoint (or Prezzi) Presentation version of the major paper, with
embedded film clips on the same subject, and complete list of academic references (minimum
10). If working in a team, each team member must contribute a 6 page paper on how and what
they researched.
–OR2. 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
Spring 2014 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
4. April 13: Final exam; consists of a film recognition test of films listed in this syllabus. You must
recognize name of film, name of director, date of release and one sentence suggesting why this film was
chosen in terms of aesthetics or content. value 10%
HOW TO SUCCEED IN THIS CLASS
Write excellent critiques and take part in vigorous Blackboard discussions with your group members
promptly. 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? 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
Please also let the IT Help Desk know if there are problems with Blackboard, or other communication
difficulties. We want to make this class as enjoyable as possible. .
METHOD OF EVALUATION
The final grade for the course will reflect mastery of course content and quality of thought as expressed
in:
Nature of Jesus film paper
200
5 Online discussions & responses
250
Major paper or its alternative
450
Final exam
100
Total 1000 points
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Grading Rubric
The grading rubric is published on our Redemptive Cinema Grading rubric site.
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, 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
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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.
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 wellchosen, 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
5
4
3
2
1
5
4
3
2
1
5
4
3
2
1
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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
Course Schedule
Film Critiques and dates when they must be submitted.
1. Five one-thousand-word critiques submitted on Blackboard to the four or five members of your group;
time allowed one week. The following week you have seven days to write at least 2 responses to the
critiques pasted by other members of your group.
Value 5% each; total value 25% of grade
First viewing assignments to be critiqued by Sunday 25th January 18 th at 11.55pm: responses due
Sunday 2 February at 11.55pm
Alpha – Bonnie & Clyde(1967. Penn)
Bravo: Jaws (1968: Spielberg 1975)
Charlie – The Godfather 1 & 2 (1972 Coppola)
Delta: Easy Rider (1969: Hopper)
Second Group viewing Assignments to be critiqued by Sunday 8th February at 11.55pm; responses by
Sunday 15th February at 11.55pm.
Alpha – The Deer Hunter (1978 Cimino)
Bravo: Platoon (1986 Stone)
Charlie – 2001-A Space Odyssey (1968 Kubrick).
Delta: Nashville (1975 Altman)
Third Group viewing assignments to be critiqued by Sunday February 22nd at 11.55pm; responses by
Sunday 1st march at 11.55pm
Alpha: Unforgiven (1992: Eastwood)
Bravo: Taxi Driver (1976 Scorsese)
Charlie: Oh Brother Where Art Thou?(2000 Cohen)
Delta: Avatar (2009: Cameron)
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Fourth Group viewing assignments to be critiqued by Sunday March 1st at 11.55pm
Alpha: Do the Right Thing (1989: Lee)
Charlie: Dead Man Walking (1995 Tim Robbins)
Bravo: Why Did I Get Married? (2012 Tyler Perry)
Delta: Superman (1978 Richard Donner)
Fifth Group viewing Assignment to be critiqued by Sunday March 22nd at 11.55pm; responses due
Sunday 29 March at 11.55pm.
Alpha: Annie Hall (1977 Woody Allen) Bravo: Eternal Sunshine of the Spotless Mind.(2004 Gondrey)
Charlie: Yentl (1975 Babra Streisand)
Delta: Moulin Rouge (2001 Baz Luhrman)
Spare non-R rated movies
My Big Fat Greek Wedding (2002: Joel Zwick)
Lost in Translation (2003 Sophia Coppola)
Silver Linings Playbook (2012 David O Russell)
2. First Paper or 30 slide PowerPoint Saturday February 1st. choose one outstanding director from the
period 1968-1998. Must be written in MLA; both papers and slides must quote at least 6 academic
sources. Value 20% of grade.
3. 4. By Sunday April 5th 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 45% of grade
ALTERNATIVES for April 5th paper
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 45% of grade
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 2016. In Spring 2012 I offered this
opportunity to members of the CTV604 Redemptive Film Class, and those who took part greatly enjoyed
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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 45% 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.
April 6th Final exam; consists of a film recognition test of films listed in this syllabus.
Value 10% of grade.
You are expected to play a full part in on-line discussions and 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. Participation is worth 10 grading points.
Grading Rubric
The following grading scale will be used:
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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
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Fail
D-
60-65
0.07
Fail F
0-59
0.00
SECTION 3 – SCHEDULE AND EVALUATION
COURSE SCHEDULE
The schedule below includes the due dates for all assignments in this course. It is recommended that
you place this Course Schedule in a convenient place and refer to it each week of the course. You need
to follow it closely, as late assignments may be subject to a grade reduction.
Monday marks the beginning of the week for this course. Therefore, unless otherwise stated in
Blackboard, assignments for each week must be submitted no later than Sunday, 11:59 pm
(Eastern time) of each week.
NB: by signing up for this course, you agree to view “R” rated films; these are shown because of
screenwriting and technical brilliance. For certain very emotional films like Dead Man Walking ,
students may choose from the 3 spare non-R rated films listed at the end of the viewing dates.
Week 1: January 12 to January 18
The End of the Studio System
Required reading: Leonard: Movies That Matter; complete book
Required viewing: Bonnie & Clyde (1967: Arthur Penn); Easy Rider (1969: Dennis Hopper)
Week 2: January 19 to January 25
The Hollywood Blockbuster
Required reading: Kolker pp 3-96
Required viewing: The Godfather parts 1 & 2 (1972/4 Francis Ford Coppola) Jaws (1975 Spielberg)
First 1000 word critique posted 11.55pm Sunday 25th
Week 3: January 26 to February 1
Vietnam & After: the Auteur Cinema
Required reading: Kolker: 97-174
Required viewing: The Deer Hunter (1978 Michael Cimino) Platoon (1986: Oliver Stone)
Responses to first critique to be posted 11.55pm Sunday February 2
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Week 4: February 2 to February 8
Auteur cinema: Heroes and Anti-heroes
Required reading: Kolker: 175-246
Required viewing: 2001: A Space Odyssey (1968: Stanley Kubrick) Nashville (1975: Robert Altman)
Second 1000 word critique to be posted 11.55pm Sunday 8th February
Week 5: February 9 to February 15
Death without Honor
Required reading: Kolker; 247-405
Required viewing: Unforgiven (1992: Clint Eastwood) Taxi Driver (1976: Martin Scorsese)
Responses to second critique to be posted 11.55pm Sunday 15th February
Week 6: February 16 to February 22
Reading Film through the Lens of Faith
Required reading: Biskind: Easy Riders pp 13-155
Required viewing: Oh Brother Where Art Thou? (2000: Joel Cohen)
Avatar (2009: James Cameron)
Third 1000 word critique to be posted 11.55pm Sunday 22nd February
Week 7: February 23 to March 1
Just What Is the Right Thing? African American Genres
Required reading; Biskind: 169-315
Required Viewing: Do the Right Thing (1989: Spike Lee) Why Did I Get Married? (2012 Tyler Perry)
Responses to third critique posted 11.55 Sunday 1st March.
Week 8: March 2 to March 8
Keeping the Faith: Religious Messages in Theatrical Films
Required reading; Biskind 316-440
Required viewing: Dead Man Walking ( 1995 Tim Robbins ) Superman ( 1978 Richard Donner)
Fourth 1000 word critique to be posted Sunday 8th March.
Week 9: March 9 to March 16
Modular Week; no classes and a chance to catch up
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Week 10: March 16 to March 22
Maverick independent directors
Required reading: Biskind Down And Dirty Movies into to 101
Required viewing: Traffic; (2001: Steve Soderburgh) Signs ( 2002 M. Night Shyamalan)
Responses to fourth critique to be posted Sunday 22nd March.
Week 11: March 23 to March 29
New Directors enter the field
Required viewing; Crash (2004 Paul Haggis) Silver Linings Playbook (2012 David O Russell)
Fifth 1000 word critique to be posted Sunday March 29
Week 12: March 30 to April 5
New Christian & Biblical Film
Required reading: Biskind 102-202
Required Viewing: God is Not Dead (2001: Peter Jackson) Noah (2014 Daniel Aronosky )
Responses to fifth critique to be posted Sunday 6th April.
Week 13 April 6 to April 12
Comedy still wins at the Box Office
Required reading: Biskind 202-end
Required viewing: Annie Hall ( 1977 Woody Allen) My Big Fat Greek Wedding (2002: Joel Zwick)
Week 14: April 13 to April 19
Seeking the Sacred: Top Films of the 21st Century
Required viewing; Eternal Sunshine of the Spotless Mind (2004: Michel Gondry) Lost in Translation
(2003: Sophia Coppola)
Week 15: April 20 to April 25
End of semester; all presentations completed.
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SECTION 4 – PROGRAM GOALS
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.
This next 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
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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
Suggestions and amendments to Professor Andrew Quicke email: andrqui@regent.edu.
First edition of this syllabus published 11/5/2014.
Copyright Regent University 2014
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