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Syllabus

The information contained on this page is designed to give students a representative example of material covered in the course. Any information related to course assignments, dates, or course materials is illustrative only. For a definitive list of materials, please check the online catalog 3-4 weeks before the course start date.

COMM 150N: The Art of the Cinema

COMM 150N The Art of the Cinema (3 credits): The development of cinema to its present state; principles of evaluation and appreciation; examples from the past and present.


Overview | Cyber Etiquette | Materials | Library | Technical Requirements and Help | Course Requirements and Grading | Course Schedule | Academic Integrity | Student Success and Support Resources | Additional Policies

Overview

COMM 150N: The Art of the Cinema is designed to introduce students to a critical and analytic mode of viewing film. The course will focus on major trends and landmarks in the history of cinema that will be intertwined with important concepts and frames for viewing film as a cultural form. From early silent films to classic Hollywood, and from post WWII studio system to so-called post-modern films, we will examine significant exemplars of cinematic movements and styles. We will examine different narrative forms, such as Comedy, Tragedy and Melodrama, and relate these forms to their use in different genres, such as the Western, populist cinema and Horror. In each case, students will be encouraged to think critically about how films construct meaning, convey emotion and create patterns of audience identification with their message.


Cyber Etiquette

As an online class, students should be mindful of cyber etiquette. The instructors and graders are not anonymous customer service employees and should not be treated as such. Your communications should not be intimate instant message between friends; avoid email shorthand, use normal letter writing conventions and display a rudimentary knowledge of the English language. 


Course Materials

Most World Campus courses require that students purchase materials (e.g., textbooks, specific software, etc.). To learn about how to order materials, please see the Course Materials page. You should check LionPATH approximately 3–4 weeks before the course begins for a list of required materials.
E-Reserves

This course requires that you access Penn State library materials specifically reserved for this course. You can access these materials by selecting Library Resources in your course navigation, or by accessing the Library E-Reserves Search and search for your instructor's last name.


Library Resources

Many of the University Libraries resources can be utilized from a distance. Through the Libraries website, you can

  • access magazine, journal, and newspaper articles online using library databases;
  • borrow materials and have them delivered to your doorstep—or even your desktop;
  • get research help via email, chat, or phone using the Ask a Librarian service; and
  • much more. 

You must have an active Penn State Access Account to take full advantage of the Libraries' resources and service.  The Off-Campus Users page has additional information about these free services.


Technical Requirements and Help

Technical Requirements and Help
Operating System

Canvas, Penn State's Learning Management System (LMS), supports most recent versions of Microsoft Windows and Apple Mac operating systems. 

To determine if your operating system is supported, please review Canvas' computer specifications.

Browser

Canvas supports the last two versions of every major browser release. It is highly recommended that you update to the newest version of whatever browser you are using.

Please note that Canvas does not support the use of Internet Explorer. Students and instructors should choose a different browser to use.   

To determine if your browser is supported, please review the list of Canvas Supported Browsers.


Note: Cookies must be enabled, and pop-up blockers should be configured to permit new windows from Penn State websites.
Additional Canvas Requirements For a list of software, hardware, and computer settings specifically required by the Canvas LMS, please review Canvas' computer specifications.
Additional Software

All Penn State students have access to Microsoft Office 365, including Microsoft Office applications such as Word, Excel, and PowerPoint.

Students will need a PDF reader, such as Adobe Reader.

Hardware

Monitor: Monitor capable of at least 1024 x 768 resolution
Audio: Microphone, Speakers
Camera (optional, recommended): Standard webcam - many courses may require a webcam for assignments or exam proctoring software.

Mobile Device (optional) The Canvas mobile app is available for versions of iOS and Android. To determine if your device is capable of using the Canvas Mobile App, please review the Canvas Mobile App Requirements.
Help If you need technical assistance at any point during the course, please contact the Service Desk.


Student Education Experience Questionnaire (SEEQ)

During the semester you will receive information about completing the Student Education Experience Questionnaire (SEEQ). Your participation is an opportunity to provide anonymous feedback on your learning experience. Your feedback is important because it allows us to understand your experience in this course and make changes to improve the learning experiences of future students. Please monitor email and course communications for links and availability dates.


Course Requirements and Grading

COMM 150N will combine film viewings with readings surrounding the films. Students will be required to view the films, keep up with any readings, watch and answer questions on the online lectures, and complete responses in each lessons. Any readings will be available as E-Reserves through the university library or available in the course schedule. To access E-Reserves, click the Library Resources link in the Course Navigation Menu.

COMM 150N is a unique course in several respects. First, you will dig far below the surface and top levels of each film. Second, the structure of each unit/lesson is the same and follows this structure.

  • Lesson Overview - Introduction to the lesson, lesson objectives, and lesson readings and activities
  • Previews - Introduction to the film or films
  • Ticket Booth - Complete this small quiz to gain admittance to the feature presentation
  • Feature Presentation - Main film for the lesson
  • Critic's Corner - Detailed analysis on the movie
  • Unit/Lesson Response - Respond to the movie clip by answering the prompt
  • Wrap - Lesson summary and coming attractions in the next lesson

Third, in several of the units, you can choose which movie you would like to explore. For example, in Unit 5: Romantic Comedy and Cinema as an Ethical Tool, you can choose to explore either The Philadelphia Story or Do The Right Thing. In this case, choose which movie you want to explore, and complete only that movie in that unit

COMM 150N can be overwhelming if you fall behind. Keep up in the course and plan ahead to be able to watch full motion pictures and explore the in-depth analysis and respond to the assignment

Each student’s grade for the semester will be based on the following.

Lesson Responses (15 total)

There will be Lesson Responses each lesson, consisting of a video clip and a question from the feature film of the lesson. Students should think about the question in relation to the clip and, in about 250 words, submit a text response. These responses will be graded based on a scale of 100%, 85%, 70% and 50%.  The Lesson Responses will be open during the week that each response is due.  All submissions received after the scheduled due date will be penalized one step in the grading hierarchy. The response average will be worth 100% of your final grade.

Grading Rubric Lesson Responses

Example Lesson Response Prompt:

What is the relationship between the following clip and the idea discussed in the lecture about the difference between fantasy and realism in cinematic representation?

"This scene isn’t real looking. U would have to be wacked to think this was real."

(This doesn't address the question, doesn't refer to the idea in the lecture and uses poor grammar and texting conventions.)

1 out of 4 points

"This clip is from the movie The Matrix, which is one of my favorite films. It is about a guy who thinks that his life is real, but it is really just a computer program that he is hooked into. It made me really think."

(This is better, but still doesn't really address the question or refer to the concept as described in the lecture notes. Moreover, it is merely giving the opinion of the author about the movie instead of showing analytical thinking.)

2 out of 4 points

“In the lecture, it talked about how realism and fantasy were two of the trajectories in cinema. Directors wanted to use the capacity of photography to look real and apply it to cinema. In some cases they wanted things that were trying to be accurate to life to be convincingly real. In other cases, they wanted things that were obviously make-believe to appear to look real so as to give film goers the experience of something different.”

(This shows a good grasp of what we discussed in the lecture, but does not link the ideas to the clip. It is generally correct and well written.)

3 out of 4 points

“In this clip, we see Trinity in what looks like a standard detective movie. The police are coming to get her and the viewer is given all the cues the movie can give to make it seem like a realistic picture. However, when the fighting starts, Trinity begins to defy gravity and move in ways that are completely fantastic. The film still looks real in many ways, but it is portraying things that transcend conventional representations of the world. So it seems to show both tendencies as discussed in the lecture. It is both realistic, in that it is trying to convince the viewer that it actually could happen, yet fantastic, in that it is obviously showing something that could only happen in the make-believe world of cinema.”

(This discusses both the specifics of the clip and the concepts at stake from the lecture. It shows that the commenter is trying to integrate the concepts into the commentary in a way that shows a grasp of both the film and the material.)

4 out of 4 points

 

 

Grading

Your grade will be based on the following:

AssessmentTotal% of GradeWhere?
Assessments and Grade Percentages
Lesson Responses15 100%Lessons 1 through 15

 

Your final grade will be determined based on the scoring explained above, and will conform to the following:

PercentLetter Grade
Grading Scale
A92–100%
A-90–91.99%
B+88–89.99%
B82–87.99%
B-80–81.99%
C+78–79.99%
C70–77.99%
D60–69.99%
FBelow 60%

* To meet graduation requirements, students must earn at least a C for this course

 

Please refer to the University Registrar's information about University grading policies.

If, for reasons beyond the student's control, a student is prevented from completing a course within the prescribed time, the grade in that course may be deferred with the concurrence of the instructor. The symbol DF appears on the student's transcript until the course has been completed. Non-emergency permission for filing a deferred grade must be requested by the student before the beginning of the final examination period. In an emergency situation, an instructor can approve a deferred grade after the final exam period has started. Under emergency conditions during which the instructor is unavailable, authorization is required from one of the following: the dean of the college in which the candidate is enrolled; the executive director of the Division of Undergraduate Studies if the student is enrolled in that division or is a provisional student; or the campus chancellor of the student's associated Penn State campus.

For additional information please refer to the Deferring a Grade page.


Course Schedule

Note: All due dates reflect North American eastern time (ET).

Untitled Document

Note: The readings, located in E-Reserves for each week, should be done at the beginning of each lesson. Regardless of where you live, all assignments are due by Sunday at 11:59 PM (ET).

Unit 1: History of Cinema
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Bordwell, D. & Thompson, K. (2001). Readings on Mise-en-scene. In Film Art: An Introduction (pp. 169-171). New York. McGraw Hill.
  • Mast, G., & Kawin, B. F. (2006). Film Narrative, Commercial Expansion. In A Short History of the Movies (pp. 28-37). New York. Longman.
Feature Films:
  1. The Great Train Robbery
  2. Voyage dans la Lune
  3. A Corner in Wheat
  4. The Girl and Her Trust
  5. Bangville Police
Assignments:

Unit 1 Response: Voyage dans la Lune

 
Unit 2: The Development of Cinematic Language: Modern Times
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Giannetti, L. (2008). American Cinema in the 1920s - "Chaplin Giannetti." In Understanding Movies (pp. 46-51). Upper Saddle River. Prentice Hall.
  • Winokur, M. (1987). Modern Times and the Comedy of Transformation. Literature/Film Quarterly, 15(4), 219-226.
Feature Film:

Modern Times

Assignments:

Unit 2 Response: Modern Times

 
Unit 3: Frank Capra and Populist Cinema: Mr. Smith Goes to Washington
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Richards, J. (1976). Frank Capra and the Cinema of Populism. In B. Nichols (Ed.), Movies and Methods (pp. 65-77). Berkeley. University of California Press.
  • Toplin, R. et al. (1999). Frank Capra's America. Journal for MultiMedia History, Vol. 2, 1-12.
Feature Film:

Mr. Smith Goes to Washington

Assignments:

Unit 3 Response: Mr. Smith Goes to Washington

 
Unit 4: John Ford and Classic Hollywood Cinema: The Grapes of Wrath
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Giannetti, L. (2008). On John Ford. In Understanding Movies (pp. 152-157). Upper Saddle River. Prentice Hall.
  • Gossage, L. (1990). Artful propaganda of Ford's The Grapes of Wrath. In D. Wyatt (Ed.), New Essays on The Grapes of Wrath (pp. 101-125). New York. Cambridge University Press.
  • Mast, G., & Kawin, B. F. (2006). American Studio Years: 1930-1945 "Ford and the Studio System.” In A Short History of the Movies (pp. 186-210). New York. Longman.
  • Sobchack, V. (1979). Grapes of Wrath (1940): Thematic Emphasis Through Visual Style. American Quarterly, 31(5), 596-615.
Feature Film:

The Grapes of Wrath

Assignments:

Unit 4 Response: The Grapes of Wrath

 
Unit 5 Lesson 5.1: Romantic Comedy and Cinema as an Ethical Tool: The Philadelphia Story
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Cavell, S. (1981). Importance of Importance: The Philadelphia Story. In Pursuits of Happiness: The Hollywood Comedy of Remarriage (pp. 133-160). Cambridge, MA. Harvard University Press.
Feature Film:

The Philadelphia Story

Assignments:

Unit 5 Lesson 5.1 Response: The Philadelphia Story

 
Unit 5 Lesson 5.2: Romantic Comedy and Cinema as an Ethical Tool: Do The Right Thing
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Sullivan, D. & Boehrer, F. (2003) Spike Lee's Do The Right Thing: Filmmaking in the American Grain. Contemporary Justice Review, 6:2, 143-167, DOI: 10.1080/10282580302704
Feature Film:

Do The Right Thing

Assignments:

Unit 5 Lesson 5.2 Response: Do The Right Thing

 
Unit 6 Lesson 6.1: Elia Kazan: A Face In the Crowd
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Beltzer, T. (2004). A Face in the Crowd. Senses of Cinema. Retrieved September 5, 2013, from http://sensesofcinema.com/2004/cteq/face_in_the_crowd/
  • Wolcott, J. (2007). Unforgettable Face. Vanity Fair. Iss. 559, 228. 
Feature Film:

A Face in the Crowd

Assignments:

Unit 6 Lesson 6.1 Response: A Face in the Crowd

 
Unit 6 Lesson 6.2: Elia Kazan: On The Waterfront
Readings:

Other Readings

  • Schulberg, B. (1954). On The Waterfront. Daily Script. https://www.dailyscript.com/scripts/onthewaterfront.html
Feature Film:

On The Waterfront

Assignments:

Unit 6 Lesson 6.2 Response:On The Waterfront

 
Unit 7: Hitchcock: Rear Window
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Bonitzer, P. (1992). Hitchcockian Suspense. In S. Zizk (Ed.), Everything You Always Wanted to Know About Lacan: But Were Afraid to Ask Hitchcock (pp. 15-19). London. Verso.
  • Chion, M., & Bozovie, M. (1992). 4th Side and Man Behind his own Retina. In S. Zizk (Ed.), Everything You Always Wanted to Know About Lacan: But Were Afraid to Ask Hitchcock (pp. 155-177). London. Verso.
  • Giannetti, L. (2008). Hitchcock. In Understanding Movies (pp. 254-258). Upper Saddle River. Prentice Hall.
  • Mast, G., & Kawin, B. F. (2006). American Studio Years: 1930-1945. "Hitchcock and 50s Cinema." In A Short History of the Movies (pp. 211-214). New York. Longman.
Feature Film:

Rear Window

Assignments:

Unit 7 Response: Rear Window

 
Unit 8 Lesson 8.1: Documentaries: Night and Fog
Readings:

None

Feature Film:

Night and Fog

Assignments:

Unit 8 Lesson 8.1 Response: Night and Fog

 
Unit 8 Lesson 8.2: I Am Not Your Negro
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Scott, A.O. (2017). Review: "I Am Not Your Negro" Will Make Your Rethink Race. New York Times, 2(2).

Other Readings

Feature Film:

I Am Not Your Negro

Assignments:

Unit 8 Lesson 8.2 Response: I Am Not Your Negro

 
Unit 9 Lesson 9.1: Stanley Kubrick and the Cold War Hollywood: Dr Strangelove
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Siano, B. (1995). A Commentary on Dr. Strangelove. 
Feature Film:

Dr. Strangelove

Assignments:

Unit 9 Lesson 9.1 Response: Dr. Strangelove

 
Unit 9 Lesson 9.2: Stanley Kubrick and the Cold War Hollywood: 2001: A Space Odyssey
Readings:

None

Feature Film:

2001: A Space Odyssey

Assignments:

Unit 9 Lesson 9.2 Response: 2001: A Space Odyssey

 
Unit 10 Lesson 10.1: The Graduate
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Beuka, R. (2000). Just one Word...."Plastics." Journal of Popular Film & Television, 28(1), 12-21.
  • Mast, G. & Kawin, B.F. (2006). Hollywood Renaissance: 1964-76. In A Short History of the Movies (pp. 344-349). New York. Longman.
Feature Film:

The Graduate

Assignments:

Unit 10 Lesson 10.1 Response: The Graduate

 
Unit 10 Lesson 10.2: Sidney Lumet, Network, and the Golden Age of Television 
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Chayefsky, P. (1975) Network script.

Other Readings

Feature Film:

Network

Assignments:

Unit 10 Lesson 10.2 Response: Network

 
Unit 11 Lesson 11.1: Martin Scorsese and the Gangster Film: Goodfellas
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Raymond, M. (2002). Martin Scorsese. Senses of Cinema.
  • Viano, M. (1991). Goodfellas by Martin Scorsese. Film Quarterly. 44(3), 43-50.
Feature Film:

Goodfellas

Assignments:

Unit 11 Lesson 11.1 Response: Goodfellas

 
Unit 11 Lesson 11.2: Martin Scorsese and the Gangster Film: Double Indemnity
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Schrader, P. (1972). Notes on Film Noir. Film Comment, 8(1). p. 8.

Other Readings

Feature Film:

Double Indemnity

Assignments:

Unit 11 Lesson 11.2 Response: Double Indemnity

 
Unit 12: Clint Eastwood, The Western and Unforgiven
Readings:

None

Feature Film:

Unforgiven

Assignments:

Unit 12 Response: Unforgiven

 
Unit 13 Lesson 13.1: Spielberg and Film as History: Amistad
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Davis, N. Z. (2002). Witnesses of Trauma: Amistad and Beloved. In Slaves on Screen: Film and Historical Vision (pp. 69-93). Cambridge. Harvard University Press.
  • Linder, D. O. (2000). The Amistad Case. Retrieved September 5, 2013, from http://law2.umkc.edu/faculty/projects/ftrials/amistad/ami_act.htm
Feature Film:

Amistad

Assignments:

Unit 13 Lesson 13.1 Response: Amistad

 
Unit 13 Lesson 13.2: Speilberg and Film as History: Lincoln
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Kushner, T. (2011). Lincoln Final Shooting Script. 

Other Readings

Feature Film:

Lincoln

Assignments:

Unit 13 Lesson 13.2 Response:Lincoln

 
Unit 14 Lesson 14.1: Science Fiction and the Unreliable Narrator: Blade Runner
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Silverman, K. (1991). Back to the Future. Camera Obscura, 9(3 27), 108-132.
Feature Film:

Blade Runner

Assignments:

Unit 14 Lesson 14.1 Response: Blade Runner

 
Unit 14 Lesson 14.2: Science Fiction and the Unreliable Narrator: Fight Club
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Friday, K. (2003). Generation of Men Without History: Fight Club, Masculinity, and the Historical Symptom. Postmodern Culture, 13(3).
  • Ta, L. M. (2006). Hurt So Good: Fight Club, Masculine Violence, and the Crisis of Capitalism. Journal of American Culture, 29(3), 265-277.
Feature Film:

Fight Club

Assignments:

Unit 14 Lesson 14.2 Response: Fight Club

 
Unit 15 Lesson 15.1: Foreign Films: Parasite
Readings:

None

Feature Film:

Parasite

Assignments:

Unit 15 Lesson 15.1 Response Parasite

 
Unit 15 Lesson 15.2: Rashomon
Readings:

E-Reserves (To access these articles, click on the Library Resources link in your Course Navigation Menu.)

  • Boyd, D. (1987). Rashomon: From Akutagawa to Kurosawa. Literature/Film Quarterly. 15(3). pp. 155-158

Other Readings

  • Prince, S. (2012). The Rashomon Effect. The Criterion Collection. https://www.criterion.com/current/posts/195-the-rashomon-effect1
Feature Film:

Rashomon

Assignments:

Unit 15 Lesson 15.2 Response:Rashomon

Note: If you are planning to graduate this semester, please communicate your intent to graduate to your instructor. This will alert your instructor to the need to submit your final grade in time to meet the published graduation deadlines. For more information about graduation policies and deadlines, please refer to Graduation at the Chaiken Center for Student Success.

Formal instruction will end on the last day of class. Provided that you have an active Penn State Access Account user ID and password, you will continue to be able to access the course materials for one year, starting from the end date of the academic semester in which the course was offered (with the exception of library reserves and other external resources that may have a shorter archival period). After one year, you might be able to access the course based on the policies of the program or department offering the course material, up to a maximum of three years from the end date of the academic semester in which the course was offered. For more information, please review the University Course Archival Policy.


Academic Integrity

According to Penn State policy G-9: Academic Integrity (for undergraduate students in undergraduate courses) and policy GCAC-805 Academic Integrity (for graduate students and undergraduate students in graduate courses), an academic integrity violation is “an intentional, unintentional, or attempted violation of course or assessment policies to gain an academic advantage or to advantage or disadvantage another student academically.” Unless your instructor tells you otherwise, you must complete all course work entirely on your own, using only sources that have been permitted by your instructor, and you may not assist other students with papers, quizzes, exams, or other assessments. If your instructor allows you to use ideas, images, or word phrases created by another person (e.g., from Course Hero or Chegg) or by generative technology, such as ChatGPT, you must identify their source. You may not submit false or fabricated information, use the same academic work for credit in multiple courses, or share instructional content. Students with questions about academic integrity should ask their instructor before submitting work.

Students facing allegations of academic misconduct may not drop/withdraw from the affected course unless they are cleared of wrongdoing (see G-9: Academic Integrity or GCAC-805 Academic Integrity as appropriate). Attempted drops will be prevented or reversed, and students will be expected to complete course work and meet course deadlines. Students who are found responsible for academic integrity violations face academic outcomes, which can be severe, and put themselves at jeopardy for other outcomes which may include ineligibility for Dean’s List, pass/fail elections, and grade forgiveness. Students may also face consequences from their home/major program and/or The Schreyer Honors College.

How Academic Integrity Violations Are Handled
World Campus students are expected to act with civility and personal integrity; respect other students' dignity, rights, and property; and help create and maintain an environment in which all can succeed through the fruits of their own efforts. An environment of academic integrity is requisite to respect for oneself and others, as well as a civil community.

In cases where academic integrity is questioned, procedures allow a student to accept or contest/appeal the allegation. If a student chooses to contest/appeal the allegation, the case will then be managed by the respective school, college or campus Academic Integrity Committee. Review procedures may vary by college, campus, or school, but all follow the aforementioned policies.

All academic integrity violations are referred to the Office of Student Accountability and Conflict Response, which may assign an educational intervention and/or apply a Formal Warning, Conduct Probation, Suspension, or Expulsion.

Information about Penn State's academic integrity policy is included in the information that students receive upon enrolling in a course. To obtain that information in advance of enrolling in a course, please contact us by going to the Contacts & Help page.


Student Success and Support Resources

Chaiken Center

The Chaiken Center for Student Success at Penn State World Campus guides you to the right resources and support you need–when you need them–along your academic journey. You can connect with peers and support teams to find direction, information, and networking opportunities. On the website, you'll find information and resources on many aspects of being a World Campus student:

  • Finances—tuition, scholarships, and financial aid
  • Inclusion and Wellness—diversity and inclusion, mental health services, disability accommodations, care and advocacy
  • Enrollment and Registration—course planning, adding and dropping courses, and much more
  • Course Work and Success—academic advising, tutoring, and other services
  • Involvement and Opportunities—career resources, student organizations, internships, service, study abroad, and more

Following are some key resources.

Student Disability Services

Penn State welcomes students with disabilities into the University’s educational programs. Every Penn State campus has an office for students with disabilities, including World Campus. The Disabilities and Accommodations section of the Chaiken Center for Student Success website provides World Campus students with information regarding how to request accommodations, documentation guidelines and eligibility, and appeals and complaints. For additional information, please visit the University's Student Disability Resources website.

In order to receive consideration for reasonable accommodations, you must contact the appropriate disability services office at the campus where you are officially enrolled, participate in an intake interview, and provide documentation. If the documentation supports your request for reasonable accommodations, your campus's disability services office will provide you with an accommodation letter. Please share this letter with your instructors and discuss the accommodations with them as early in your courses as possible. You must follow this process for every semester that you request accommodations.

Students with disabilities participating in internship, practicum, student teaching, or other experiential learning opportunities as part of their degree requirements may also be eligible for reasonable accommodations to ensure equal access and opportunity. These accommodations are determined through an interactive process involving the student, their University supervisor, and the site supervisor. Student Disability Resources can assist students with identifying potential barriers, facilitating accommodation requests, and coordinating with University supervisors to promote inclusive learning experiences.

Counseling and Psychological Services

If you have a crisis or safety concern, mental health services are available to you as a Penn State student. Crisis and emergency contacts are available, no matter where you are located:

Military Student Information

Veterans and currently serving military personnel and/or dependents with unique circumstances (e.g., upcoming deployments, drill/duty requirements, VA appointments, etc.) are welcome and encouraged to communicate these, in advance if possible, to the instructor in the case that special arrangements need to be made.


Additional Policies

 
Privacy Notice
In order to protect your privacy, course access is limited to those individuals who have direct responsibility for the quality of your educational experience. In addition to the instructor, a teaching assistant or college administrator may be provided access in order to ensure optimal faculty availability and access. World Campus technical staff may also be given access in order to resolve technical support issues.
Student Responsibilities and Conduct
  1. Students are responsible for online course content, taking notes, obtaining other materials provided by the instructor, taking tests (if applicable), and completing assignments as scheduled by the instructor.  As a general rule, students should plan on logging into the course at least three times per week and spending at least three hours per course credit per week on the course, e.g., if the course is three credits, the student should plan on spending at least 9-12 hours per week on the course, just as they would in a residence course.
  2. Students are responsible for keeping track of changes in the course syllabus made by the instructor throughout the semester.
  3. Students are responsible for monitoring their grades.
  4. Students must contact their instructor (and teammates when working on any collaborative learning assignments) as soon as possible if they anticipate missing long periods of online time due to events such as chronic illnesses, death in the family, business travel, or other appropriate events. The instructor will determine the minimal log on time and participation required in order to meet course responsibilities. In the event of other unforeseen conflicts, the instructor and student will arrive at a solution together.
    1. Instructors may require students to provide documentation with the class absence form or other written notification for events such as illness, family emergency, or a business-sanctioned activity.
    2. Conflicts with dates on which examinations or assignments are scheduled must be discussed with the instructor or TA prior to the date of the examination or assignment.
  5. Students are responsible for following appropriate netiquette (network etiquette) when communicating with their instructor and classmates. For reference, see the Academic Success Kit.
  6. Behaviors that disrupt other students’ learning are not acceptable and will be addressed by the instructor.
  7. For severe and chronic problems with student disruptive behavior, the following will be applied for resolution:
    1. Senate Committee on Student Life policy on managing classroom disruptions: Office of Student Accountability and Conflict Response.
    2. Penn State Values.
Report Bias

Penn State takes great pride to foster a diverse and inclusive environment for students, faculty, and staff. Acts of intolerance, discrimination, or harassment due to age, ancestry, color, disability, gender, gender identity, national origin, race, religious belief, sexual orientation, or veteran status are not tolerated and can be reported through Educational Equity via the Report Bias webpage.


Disclaimer: Please note that the specifics of this Course Syllabus are subject to change, and you will be responsible for abiding by any such changes. Your instructor will notify you of any changes.


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