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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 Cinema

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


Description | Cyber Etiquette | Materials | Library | Technical Requirements | Course Requirements and Grading | Course Schedule | Academic Integrity | Accommodating Disabilities | Additional Policies

Description

Communications 150N: The Art of 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. In the group forums, be respectful of others.


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.


Using the Library

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

Technical Requirements
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.


Student Education Experience Questionnaire (SEEQ)

During the semester you will receive information for 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.


If you need technical assistance at any point during the course, please contact the Service Desk.

For registration, advising, disability services, help with materials, exams, general problem solving, visit World Campus Student Services!


Course Requirements and Grading

Communications 150N will combine film viewings with readings surrounding the films. Students will be required to view the films, keep up with the readings, watch and answer questions on the online lectures, complete responses in each lesson, and complete lesson discussions and quizzes. All readings will be available as E-Reserves through the university library. To access E-Reserves, click the Library Resources link in the Course Navigation Menu. Each student’s grade for the semester will be based on the following components:

Assignments
  1. Lesson Responses
  2. Lesson Discussion Participation (Odd numbered lessons)
  3. Lesson Quizzes (Even numbered lessons)
  4. Engagement with lectures

Lesson Responses  (15 total, lowest score dropped)
There will be Lesson Responses each week, consisting of a video clip and a question from the feature film of the week. 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%. At the end of the semester, the low score will be dropped before generating the average. 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 40% of your final grade.

Lesson Quizzes (even numbered lessons, 7 total, lowest score dropped)
Lesson Quizzes will be a test of the students’ ability to recognize formal components of film. Students will be required to complete these quizzes. The lowest score from the quizzes will be dropped from the final average. The total quiz average will comprise 40% of the final grade.

Lesson Discussion Participation (odd numbered lessons, 8 total)
The Lesson Discussion Forums consist of a general question prompt to get the discussion started. Students are encouraged to engage in the discussion by drawing upon what is learned from the lesson Previews and Critic's Corner. You should not only respond to the question in a thoughtful way, but also engage the ideas of your fellow students by responding thoughtfully to at least two other students' posts. While critical engagement is encouraged, you should be respectful and constructive when interacting with one another.
The total discussion participation average will be worth 20% of the final grade.

Please see the Grading Rubric, which outlines the expectations for the content quality of discussion posts.

Grading Rubric for Discussion Forums

Example Discussion Forum Question:

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?

Example Contributions and Instructor Ratings:

"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

An additional point will be added for responding to other people's comments in a constructive manner.

Grading

Your grade will be based on the following:

Assessment Total % of Grade Where?
Assessments and Grade Percentages
Lesson Responses 15 (drop lowest score) 40% Lessons 1 through 15
Lesson Quizzes 7 (drop lowest score) 40% Even numbered lessons
Lesson Discussion Participation 8 20% Odd numbered lessons

 

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

Percent Letter Grade
Grading Scale
92 - 100% A
90 - 91.99% A-
88 - 89.99% B+
82 - 87.99% B
80 - 81.99% B-
78 - 79.99% C+
70 - 77.99% C
60 - 69.99% D
Below 60% F

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

Please refer to the University Grading Policy for Undergraduate Courses for additional 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
Course Introduction and Lesson 1: History of Cinema
Readings:

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

  1. Bordwell, D. & Thompson, K. (2001). Readings on Mise-en-scene. In Film Art: An Introduction (pp. 169-171). New York. McGraw Hill.
  2. 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:
  1. Lesson 1 Response: Voyage dans la Lune
  2. Lesson 1 Discussion
Lesson 2: The Development of Cinematic Language
Readings:

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

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

Modern Times

Assignments:
  1. Lesson 2 Response: Modern Times
  2. Lesson 2 Quiz
Lesson 3: Frank Capra and Populist Cinema
Readings:

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

  1. 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.
  2. Toplin, R. et al. (1999). Frank Capra's America. Journal for MultiMedia History, Vol. 2, 1-12. Retrieved September 5, 2013, from http://www.albany.edu/jmmh/vol2no1/Capra1.html
Feature Film:

Mr. Smith Goes to Washington

Assignments:
  1. Lesson 3 Response: Mr. Smith Goes to Washington
  2. Lesson 3 Discussion
Lesson 4: John Ford and Classic Hollywood Cinema
Readings:

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

  1. Giannetti, L. (2008). On John Ford. In Understanding Movies (pp. 152-157). Upper Saddle River. Prentice Hall.
  2. 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.
  3. 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.
  4. 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:
  1. Lesson 4 Response: The Grapes of Wrath
  2. Lesson 4 Quiz
Lesson 5: Romantic Comedy and Cinema as an Ethical Tool
Readings:

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

  1. 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:
  1. Lesson 5 Response: The Philadelphia Story
  2. Lesson 5 Discussion
Lesson 6: Elia Kazan
Readings:

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

  1. 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/
  2. Wolcott, J. (2007). Unforgettable Face. Vanity Fair. Iss. 559, 228. Retrieved September 5, 2013, from http://www.vanityfair.com/news/2007/03/wolcott200703?currentPage=all
Feature Film:

A Face in the Crowd

Assignments:
  1. Lesson 6 Response: A Face in the Crowd
  2. Lesson 6 Quiz
Lesson 7: Hitchcock - Rear Window
Readings:

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

  1. 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.
  2. 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.
  3. Giannetti, L. (2008). Hitchcock. In Understanding Movies (pp. 254-258). Upper Saddle River. Prentice Hall.
  4. 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:
  1. Lesson 7 Response: Rear Window
  2. Lesson 7 Discussion
Lesson 8: Night and Fog
Readings:

No Readings for this lesson

Feature Film:

Night and Fog

Assignments:
  1. Lesson 8 Response: Night and Fog
  2. Lesson 8 Quiz
Lesson 9: Stanley Kubrick and the Cold War Hollywood
Readings:

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

  1. Siano, B. (1995). A Commentary on Dr. Strangelove. Retrieved September 3, 2013, from http://www.visual-memory.co.uk/amk/doc/0017.html
Feature Film:

Dr. Strangelove

Assignments:
  1. Lesson 9 Response: Dr. Strangelove
  2. Lesson 9 Discussion
Lesson 10: The Graduate
Readings:

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

  1. Beuka, R. (2000). Just one Word...."Plastics." Journal of Popular Film & Television, 28(1), 12-21.
  2. 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:
  1. Lesson 10 Response: The Graduate
  2. Lesson 10 Quiz
Lesson 11: Martin Scorsese and the Gangster Film
Readings:

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

  1. Raymond, M. (2002). Martin Scorsese. Senses of Cinema. Retrieved September 5, 2013, from http://web.archive.org/web/20100130094630/http://archive.sensesofcinema.com/contents/directors/02/scorsese.html
  2. Viano, M. (1991). Goodfellas by Martin Scorsese. Film Quarterly. 44(3), 43-50.
Feature Film:

Goodfellas

Assignments:
  1. Lesson 11 Response: Goodfellas
  2. Lesson 11 Discussion
Lesson 12: Clint Eastwood, The Western and Unforgiven
Readings:

No Readings for this lesson

Feature Film:

Unforgiven

Assignments:
  1. Lesson 12 Response: Unforgiven
  2. Lesson 12 Quiz
Lesson 13: Spielberg and Film as History
Readings:

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

  1. 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.
  2. 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:
  1. Lesson 13 Response: Amistad
  2. Lesson 13 Discussion
Lesson 14: Science Fiction and Postmodern Aesthetics
Readings:

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

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

Blade Runner

Assignments:
  1. Lesson 14 Response: Blade Runner
  2. Lesson 14 Quiz
Lesson 15: The Unreliable Narrator
Readings:

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

  1. Friday, K. (2003). Generation of Men Without History: Fight Club, Masculinity, and the Historical Symptom. Postmodern Culture, 13(3).
  2. 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:
  1. Lesson 15 Response: Fight Club
  2. Lesson 15 Discussion

 

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 go to the Graduation Information on the My Penn State Online Student Portal.

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 , 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 ). 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, the Policy on Academic Integrity indicates that procedure requires an instructor to inform the student of the allegation. Procedures allow a student to accept or contest a charge. If a student chooses to contest a charge, the case will then be managed by the respective college or campus Academic Integrity Committee. If that committee recommends an administrative sanction (Formal Warning, Conduct Probation, Suspension, Expulsion), the claim will be referred to the Office of Student Accountability and Conflict Response.

All Penn State colleges abide by this Penn State policy, but review procedures may vary by college when academic dishonesty is suspected. Information about Penn State's academic integrity policy and college review procedures 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 .


Accommodating Disabilities

Penn State welcomes students with disabilities into the University's educational programs. Every Penn State campus has resources for students with disabilities. The Student Disability Resources (SDR) website provides contacts for disability services at every Penn State campus. For further information, please visit the SDR website.

In order to apply for reasonable accommodations, you must contact the appropriate disability resources office at the campus where you are officially enrolled, participate in an intake interview, and provide documentation based on the documentation guidelines. If the documentation supports your request for reasonable accommodations, your campus's disability resources 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.


Additional Policies

For information about additional policies regarding Penn State Access Accounts; credit by examination; course tuition, fees, and refund schedules; and drops and withdrawals, please see the World Campus Student Center website.

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:

Veterans and Military Personnel

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.

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. Requests for taking exams or submitting assignments after the due dates require documentation of 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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