Work1ENC 1102 Essay 1 Instructions (Summer 2015).pdfE N C.docx

Work1/ENC 1102 Essay 1 Instructions (Summer 2015).pdf
E N C
1 1 0 2
E S S A Y
O N E
I N S T R U C T I O N S
7 5 0
W O R D S
R E Q U I R E D
F O R
Y O U R
E S S A Y
–
M U S T
S U B M I T
E S S A Y
T O
D I S C U S S I O N
T O
V I E W
O T H E R
P O S T S !
( T H O U G H
S T U D E N T S
O F T E N
W R I T E
M A N Y
M O R E

W O R D S ,
A N D
T H A T ’ S
O K A Y
T O O )
4
3 0 0 -‐ W O R D
P E E R -‐ R E S P O N S E S
R E Q U I R E D ( S E E
A S S I G N E D
Q U E S T I O N S
I N
B B )
1. Choose
one
piece
of
literature
from
Weeks
1-‐2
and
one
piece
of
literature
outside
of
the
course

and
a
common
theme
or
focus
between
the
two.
(Yes,
this
means
you
can
choose
from
the
films
and
songs
too.)
Some
examples
of
a
common
theme
are:
reality
TV,
development
of
strong
female

character,
parasitic
relationships,
hope,
and
so
on.
Feel
empowered
to
be
creative.
Creativity
and
interest
in
topic
usually
make
your
writing
better,
which
will
make
both
you
and
me
happy.

2. Use
a
quote
from
a
scholarly
source,
either
one
included
in
Weeks
1-‐4
or
one
that
you
find
and
verify
on
your
own.
Extra
points
are
given
for
demonstrating
your
knowledge
of
a
concept

we
have
covered
from
the
scholarly
readings.
If
the
scholarly
sources
do
not
seem
to
apply
to
your
topic,
you
may
choose
to
use
a
quote
in
your
introduction
or
conclusion.
For
example,
within

any
essay,
people’s
perception
of
reality
in
the
real
world
in
relation
to
your
theme
is
relevant
(see
Week
2:
Douglass
Kellner
material).
Cite
your
sources
with
in-‐text
and
works
cited
citations.

3. To
write
this
750-‐word
essay,
you
will
first
need
to
figure
out
what
you
think
the
two
pieces
of
literature
demonstrate
about
that
theme.
This
will
be
your
thesis
statement.
For
example,

if
you
chose
hope,
you
might
say
that
the
poems
for
week
3
reveal
that
some
situations
reveal
just
how
difficult
it
can
be
to
find
and
keep
sight
of
hope.
An
easy
way

to
start
your
thesis
is:
(Title
of
Literature)
and
(Title
of
Literature)
(reveal,
demonstrate,
explore
the
idea
of,
argue,
suggest,
contest,
critique)
…,
which
is
important
because
(insert
reason
that
your
audience
should
care).

Next,
you
should
develop
2-‐3
subtopics
that
will
become
the
focus
of
your
body
paragraphs.
Then
choose
3-‐4
examples
from
each
piece
of
literature
to
demonstrate
your
theme
in
those
paragraphs.
(Specific

examples
and
quotes
are
needed.
Do
not
include
summary
of
large
portions
of
the
literature.
For
Any
example
chosen,
you
need
to
explain
how
it’s
relevant
to
your
theme
and
why
it’s
important
to

your
thesis
claim.
Assume
you
audience
is
very
familiar
with
the
literature.
Your
job
is
to
make
a
convincing
argument
about
the
literature
to
a
knowledgeable
audience).
4. Your
introduction
should

say
something
about
your
theme/focus
on
a
more
general
level.
The
introduction
begins
broad
and
narrows
to
your
thesis,
generally.
For
example,
if
you
choose
“strong
female
character,”
you
would
want
to
develop
a

broad
idea
of
what
a
strong
female
character
entails
and
perhaps
consider
the
history
or
current
presence
of
strong
female
characters
in
general.
5. Usually,
this
kind
of
essay
is
organized
with

the
body
paragraphs
focusing
on
one
piece
of
literature
at
a
time.
The
alternative
to
this
is
for
the
body
paragraphs
to
focus
on
subtopics,
comparing
and
contrasting
the
two
pieces
of
literature
in

each
paragraph.
Either
way,
your
body
paragraphs
should
have
a
topic
sentence
that
tells
the
audience
what
you
are
going
to
say
about
a
particular
piece
of
literature/subtopic.
For
example:
“Strong
female
characters
often

display
an
unordinary
level
of
courage.”
You
will
then
provide:
• Details/quotes
and
interpretations
of
details
and
quotes
(For
help
with
this,
visit
this
course
resource:
https://owl.english.purdue.edu/owl/resource/751/01/)
• outside

comparative
examples
• explanations
of
how
and
why
the
details
and
quotes
come
together
to
prove
your
thesis.
Remember,
I’m
not
concerned
that
you
get
the
“right”
interpretation,
but
rather
that
you
prove

your
interpretation
by
explaining
how
your
examples
logically
lead
you
to
the
conclusions
you
draw.
• your
own
personal
take
on
the
subtopic
–
i.e.
“I
think
The
level
of
courage
of
female

characters
in
The
Hunger
Games
seem
less
courageous
than
their
male
counterparts
in
other
films
because
…”
(Note:
I
think
is
crossed
out
to
make
the
statement
an
analysis
that
demonstrates

belief
in
one’s
own
thoughts)
• This
is
another
helpful
page:
https://owl.english.purdue.edu/owl/resource/615/01/
6. To
further
clarify
#5,
within
body
paragraphs,
you
should
use
examples
and
quotes
from
the
literature
to

explain,
analyze,
and
synthesize
the
way
the
literature
proves
your
thesis
claim.
When
you
use
an
example
or
quote,
make
sure
that
you
follow
that
example/quote
with
an
explanation
of
what
the
example/quote
demonstrates

in
relation
to
your
thesis/claim.
You
may
also
pull
in
an
occasional
example
of
how
the
literature
either
reflects
something
in
society
or
the
world
or
how
the
literature
encourages
readers
to
think
a

certain
way
about
that
world.
7. In
your
conclusion,
you
of
course
want
to
provide
a
strong
statement
about
how
the
evidence
offered
in
the
body
paragraphs
comes
together
to
prove
your

thesis.
You
also
want
to
answer
the
questions:
So
what?
Who
cares?
If
you
are
writing
about
a
topic,
you
should
always
be
able
to
answer
these
questions.
This
is
your
final
opportunity
to

communicate
the
importance
of
your
argument
to
your
readers.
8. Don’t
forget
to
revisit
the
syllabus
for
MLA
formatting
requirements,
including
instruction
for
your
title
and
works
cited
page.
See
the
syllabus

for
requirements
(around
page
25).
Note
that
your
syllabus
schedule
tells
you
the
type
of
citation
needed
for
each
piece
listed,
though
I
rarely
provide
you
with
all
of
the
information
you
need.
You

can
search
for
that
type
of
citation
in
the
search
box
of
Purdue
OWL
by
following
any
of
the
links
below.
You
need
to
have
citations
for:
• Any
literature
used
(from
within

the
course
or
outside
the
course)
• Any
scholarship
or
outside
resources
used,
including
sites
like
Wikipedia
and
Sparknotes
• For
Works
Cited
page
citations:
• Sample
Works
Cited
Page:
• For
In-‐Text
citations:

• Pay
special
attention
when
quoting
poems
and
songs
to
the
format
required:
Remember:
Plagiarism
is
the
use
of
any
ideas
other
than
your
own
when
those
ideas

are
not
cited!
9. Review
the
sample
rubric
on
the
next
page
before
submitting
your
essay.
(View
current
rubric
in
BB
Grade
Center)
Consider
proofreading
your
essay
by
reading
it
out
loud

to
yourself.
This
is
the
best
way
to
catch
errors
that
you
might
otherwise
miss
reading
silently
through
your
essay.
10. Submit
your
work
to
the
Discussion
Board
and
respond
to
4

peers.
11. Peer
Response
Questions:
• In
one
paragraph,
explain
how
another
piece
of
literature
from
the
reading
list
supports
or
challenges
the
theme
addressed
in
your
peer's

essay.
If
none
do,
explain
the
way
another
example
from
the
piece
of
literature
from
the
reading
list
(used
in
your
peer's
essay)
supports
or
challenges
the
theme
addressed
in
your
peer's
essay.
In

addition
to
this,
explain
why
your
example
supports
or
challenges
the
theme.
• In
one
paragraph,
choose
an
outside
example
(something
from
the
real-‐word)
that
supports
or
challenges
the
theme
addressed

in
your
peer's
essay.
Explain
why
or
how
your
example
supports
or
challenges
this
theme.
Work1/ENC1102_Hybrid_Syl_Spring_2016.pdf
Composition II is a writing course with a high focus on
literature. You will produce
writing that demonstrates an ability to weave together quotes,
thorough
interpretations/analysis of quotes, social examples, and

scholarly sources. Your
objective in this is to draw connections between the literature
and scholarship in
this course to begin to explain the way the literature both
interprets our world and
communicates norms (or instructs readers regarding appropriate
ways of acting and
reacting to that world.).
It should be noted that this is not an “English” literature course,
though Valencia
offers two of them if you’re interested. If you understand
literature as something
that only refers to authors like Shakespeare and Poe or other
classic “traditional
canon”1 authors, your definition of literature will need to
become more inclusive.
One expansion of your definition will be through the inclusion
of authors you may not
know and material that may address less familiar themes of
literature. Along with
typical themes like love and death, we will also talk about
topics of gender,
sexuality, race, ethnicity, social class, logic, reason, and truth,
among others.
Because of this, it is imperative that you become aware of what
you say and how you
say it, especially in the online setting. This does not mean our
discussions will be
limited but rather that we will develop the skill of decentering
(realizing that
one’s opinion is only one among many ohters). We will use
literature as a means of

understanding what we think, why we think it, and how and why
others may look at the
world in ways that may be different and sometimes not
“normal” to us. To accomplish
this, we use the newer definition of literature,2 which includes
texts like music,
television, films, and video games as opposed to that the
literature that is only
produced in written form..
The course is centered primarily around two mutually dependent
concepts: the value of
“voice” and the development critical thought. Thus, throughout
the entirety of our
semester together, discussions will come back to a few primary
questions:
! who speaks and who is spoken to?
! whose voice gets heard and whose voice is silenced?
! who writes our collective history and whose history is written
for them?
! and most importantly, how can you make your own voice
matter, and how can you
speak while at the same time taking into consideration
competing voices?
You are expected to bring with you skills from ENC 1101
including: paragraph components,
essay organization, sentence variety skills, and intentional word
choice, knowledge of MLA
format, and the ability to demonstrate critical thought in
writing. Throughout this course,

you will be expected to incorporate the following in your
writing: a more sophisticated
vocabulary, more in-depth analysis of literature both in class
and in your writing, and a
mastery MLA formatting skills.
As a starting point for critical thinking, your writing should
flow from the following
statement: the world is simply more complex than all our efforts
to explain it. This doesn’t
mean that we can’t successfully explain some of its components.
Accomplishing this isn’t the
easy process it may seem on the surface, so it’s no surprise
when my students’ number one
complaint is: “I can’t get the words on the page to match the
thoughts in my head.” As you
learn listen to and understand the complexity of your and
others’ thoughts this in our
course, hopefully, the act of writing will become an easier and
more enjoyable task.
Finally, we will explore the way writing should never be used to
make a singular “grand
statement” – a thesis argued as the be all and end all of a
conversation. Rather, we will
work to understand writing as an act that can help us
investigate, navigate, and explain an
increasingly complex environment: the world that surrounds us.
_____________________________________________________
_______________________________________
1 Canon: "Those works generally considered by scholars,
critics, and teachers to be the most important to read and
study, which collectively constitute the "masterpieces" of

literature. Since the 1960s, the traditional English and
American literary canon, consisting mostly of works by white
male writers, has been rapidly expanding to include
many female writers and writers of varying ethnic
backgrounds." -Bedford St. Martins
2 You will read about this in one of your first assigned
readings: Terry Eagleton’s “What is Literature?”
A B O U T
C O M P O S I T I O N
I I
1
Here’s a guide to help you better navigate this beast of a
syllabus:
Course Policies
How, When, & Where to Contact Prof. G.
…………………………………………………………………………
……………………… 2
Texts &
Materials………………………………………………………………
…………………………………………………………………………
………………… 3
Course Assignments, Grade Distribution, & Explicit Content
Warning………………………… 4
How to Compose an Email to Prof, Connect By Facebook, &
Forward Atlas Email… 5
Participation Guidelines & Attendance & Late Work
Policies……………………………………………… 6
Computer Malfunction Policy, The Writing Center, and Course

Disclaimers…………… 7
Plagiarism Policy & Failure/Disciplinary Action for
Plagiarism Offenses (even
unintentional)…………………………………………………………
……………………… 8
Academic Honesty, Code of Conduct, and Withdrawal
Policies……………………………………………… 9
Disability & Student Assistance Programs; Course Description,
Prerequisites,
Description & Outcomes; Important Dates; & links to College
Catalog,
Policy Manual, & Student
Handbook……………………………………………………………
……………………………………… 10
Tips for Success, Resources & Copyright, and
Questions………………………………………………………… 11
Course Schedule
Weekly Readings, Viewings, Lectures, Assignments
………………………………………………………… 12
Other Important Information
What Makes a Good Discussion Post (Including MLA Format
and File Attachments)……… 21
Detailed Information on MLA Requirements in Formatting
Assignments ……………………… 22
Taking An Online/Hybrid Course, What You Will Need to be
Successful
How an Online/Hybrid Course is Different from a Face-to-Face

Course?,
Course
Components…………………………………………………………
…………………………………………………………………………
………… 25
What We Expect from Each Other & Netiquette
…………………………………………………………………………
………… 26
Minimum Technology Requirements & Special Note about
Using a Mac …………………………… 27
2
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F R E S H M A N C O M P O S I T I O N 2
P R O F E S S O R T O R I G R A J E D A
S Y L L A B U S
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I M P O R T A N T T H O U G H T S A B O U T T H I N K I
N G

“Either you repeat the same conventional doctrines everybody is
saying, or else you say something true, and it will sound like
it's from
Neptune.” – Noam Chomsky
I M P O R T A N T T H O U G H T S A B O U T W R I T I N
G
“Good writers define reality; bad ones merely restate it.” –
Edward Albee
“Nobody can do everything,/but everybody can do something,/
everyone must play a part” – Gil Scott Heron
C O N T A C T A N D C O U R S E I N F O R M A T I O N
Email: Personal Issues: [email protected]
Please do not email me through Atlas or Blackboard Messages
as I do not check those accounts!
Questions about Course Content: Facebook or “Ask A Question”
Peer Discussion Board
Office Location: Bldg. 4, Rm. 227 (down the hallway outside
the library)
Office Phone: (407) 582-2276
Mailbox
Location:
7-163 (Communications Department: M-F 9am-5pm)

Course
Information:
ENC 1102 / Fall 2015 / 3 Credit Hours
Sections:
Section# / Meeting
Location / Mode /
Day & Time
26188 / 8-145 & Blackboard / Hybrid / Tues 10:00-11:15am
26411 / 8-145 & Blackboard / Hybrid / Tues 11:30am-12:45pm
28927 / 8-145 & Blackboard / Hybrid / Wed 10:00-11:15am
26640 / 8-145 & Blackboard / Hybrid / Wed 11:30am-12:45pm
Contact Hours
Office Contact Hours: East Campus, 4-227
Tuesday: 1 – 5:30pm
Wednesday: 1 – 1:30pm
Online Contact Hours by Email: [email protected]
Monday: 12 – 2pm
Thursday: 12 – 2pm
Friday: 12-1pm
*You may message me privately in Facebook for chat anytime
that I am available.
3
T e x t s a n d M a t e r i a l s :

To save students cash, I do not require a textbook. I provide
needed materials through
Blackboard. You required to access all of these materials and
use them for your
discussions. If you are comfortable finding and reading
information on the Internet,
this should be a plus (not a problem). Nevertheless, an online
document looks much
different than a webpage. You are required to print out the
course readings. Students,
semester after semester, note that they are easier to read on the
page than on the
screen.
Here are the core materials needed:
y Modules,
Lectures, & Readings)
http://faculty-staff.ou.edu/L/A-Robert.R.Lauer-1/Corrigan.html
when needed
onary & Roget’s Dictionary Style
Thesaurus (you may
use www.dictionary.com or www.thesaurus.com)

account (directions
are included in this syllabus)
e for MLA format:
http://owl.english.purdue.edu/owl/resource/747/01/ (Or the
Quick Access book)
must be submitted as
DOC or DOCX files. You must have “Track Changes” and
“Comments” capabilities. If
you have neither on your personal computer, you can get a free
copy from
Valencia
made for those
with extenuating circumstances)
r watching files in MP3 and MP4
format
N o S h o w P o l i c y :
During the first week, you are required to take the syllabus quiz
and submit an introduction to the “I’d Like
to Introduce” discussion board in Blackboard by Friday at
midnight
If you have not posted your introduction and scored a 100 % on

the syllabus quiz by Friday of the 1st week by
midnight, you will be withdrawn as a “no show” student.
4
A S p e c i a l W a r n i n g R e g a r d i n g E x p l i c i t C o
n t e n t :
Some literature in this course contains explicit content in regard
to language and topics. If you are
uncomfortable with either, you would be highly advised to
switch to another section of ENC1102. Know that
the syllabus is a contract between the student and professor. By
staying in this course, you agree to
this contract. This does not mean that bombing our course
frequently with four letter words is
acceptable, but if you refer to explicit content in your
discussions or essays, you do not have to star-
out (f***) words.
Grading Scale
A 90-100 Essays E Ess Essays in this course are Essays in
this course are Essays in this course are
B 80-89
C 70-79
F 0-69
Grading Process
Essays in this course are
graded by rubric. When you

receive your grade, please
review this rubric to note
strengths and needed
improvements. Other
assignments are graded on
successful completion of
assignment criteria.
Put your best efforts into your
writing. I assign grades based on
standards that will help you be
most successful in the future.
Earning less than a C on ONE of
your core essays results in
failure of the course. Please
Note: One revision of a failing
essay is allowed per semester.
C o u r s e A s s i g n m e n t s a n d G r a d e D i s t r i b u t
i o n :
Students will come to know the writing process and its fluidity
through invention,
discovery/research, drafting, peer-editing, and revision in the
following writing assignments:
3 Literary Quizzes (10 points each) 30 points
In-Class Assignments & Quizzes 10 points

2 750-Word Discussion Post Essays and 4 300-Word Peer
Responses
(20 points each)
The discussion grade is determined as follows: 60% can be
earned from
you own initial discussion response. 40% can be earned in your
4 peer
responses.
40 points
Final Project: Researched Comparative Essay and Creative
Piece
Prewriting Assignment 5 points
Final Draft 20 points
25 points
Final Exam: Creative Piece 5 points
5
E M A I L & F A C E B O O K P O L I C Y :
Please regularly check your Atlas account for excessive absence
notices, grade warnings, instructor emails,
etc. You are responsible for checking your email in time to
speak with me about any issue regarding the course

before you are withdrawn.
Students find most success in doing this by forwarding Atlas
email to a more regularly
checked email account!
F o r w a r d i n g Y o u r A t l a s E m a i l :
Here's how to forward your Atlas email to a preferred email
address you check regularly:
• Go into your Atlas email, and on the right hand side, there is a
sprocket and clicking on it will open a
down menu. Choose “Options”
• On the page that opens up, on the left-hand side, you will see
a list of shortcuts. One of them is
"Forwarding” your mail .." Click on that.
• On the right, you will see "Forward my e-mail to:"
• Fill in the email address you check frequently
• Click "Save" at the top of the page
Once, the night before a midterm, I sent all the exam questions
out by Atlas email. One of my students had
checked his mail and knew exactly what to study. You never
know what may come in your Atlas email! :)
A c a d e m i c C o r r e s p o n d e n c e :
This is an English film course. Adhere to the Standard Written
English rules of grammar, punctuation and
capitalization for all academic correspondence, including
communication with me or classmates via email,

Blackboard, and the class discussion boards. Your grade
depends on it.
Pause before hitting send!
Once an email is sent, it cannot be unsent; therefore, follow
these guidelines before hitting the send button:
• Follow the protocol learned from the Michael Leddy article,
“How to Email a Professor.”
http://mleddy.blogspot.com/2005/01/how-to-e-mail-
professor.html
• Proofread the message to be sure it is grammatically correct
and properly capitalized.
• Run the spellchecker.
• Consider the tone and audience of your message
• Review the materials at the end of this syllabus on nettiquette
C o n n e c t i n g t o t h e C o u r s e b y S o c i a l M e d i
a
This course requires connection by Facebook :
http://www.facebook.com/professagrahata
If you have trouble with the above link, use the following
Email account associated with Facebook: [email protected]
User Name: Profesora Tori Grajeda
When connect through one of this social networking site, please
include the following information about

yourself as well as the statement that follows in a message at
the time you request connection:
• Your real name
• Your social media name
• Your VID
• The course and section number in which you are enrolled.
By connecting through Facebook, you agree to knowing and
abiding by the following policy:
I have reviewed and agree to follow the netiquette guide on my
syllabus. I understand that this site
may contain mature content in relation to language, sex,
violence, and other mature material, but
only as related to our course content (i.e. literature, readings,
etc.). I understand that a warning
will be provided where such content is present and will avoid
that content when desired.
6
C l a s s P a r t i c i p a t i o n a n d R e a d i n g s :
Class Participation will take place each week in our discussion
boards, including the “Ask A Question /
Answer A Question” Community Discussion forum. This:
• Creates an intellectual

community
• Shapes our classroom
encounter
• Expands learning possibilities
• Creates more complete and diverse (non-one-dimensional)
pictures
of our social experiences
• Forges a richer production of the kind of critical thought that
we will strive toward over the course of our semester together
A special warning about respecting others’ right to participate:
Participating in a community also means realizing when you are
talking too much. Dominating conversation
does not make good participant; neither does speaking without
first gathering thoughts, considering their
relevance, and determining whether you are ready to adequately
articulate them. See end of syllabus for
full version.
You are responsible for participating respectively:
Be cognizant of your own expressions and the effects of those
expressions. We will discuss sensitive
topics. Avoid all biased language. Diction is imperative in
general as especially within an English class
or successful essay. Hate speech of any kind is grounds for
removal from this class and possible

disciplinary action. Avoid absolutes as well, as they are rarely
true (i.e. everyone, no one, always,
never, and so on)
In abidance with FERPA and with respect to your colleagues’
right to privacy, you may not allow your
parents or anyone else to sign in to or operate your Blackboard
account. If you do so, I am obliged to
discontinue your access, and you will not receive credit or
make-up work for missed assignments.
A t t e n d a n c e :
2 permitted absences. 3rd Absence = withdrawal due to
excesssive absences
*In this hybrid course, your attendance is checked by
assignment. 1 missed assignment results in 1
absence. If you wish to receive an F rather than a W, please let
me know, and I will give you an F rather
than withdraw you.
*Exceptions will be made for ongoing medical conditions.
Please speak with me regarding this policy.
L a t e W o r k
Late work = point reduction; failing essay = failing class;
no proper submission to blackboard = no grade
The following policy applies for late assignments:
• 1 day late results in a 10 percent reduction of the grade;
• 2 days late results in a 20 percent reduction of the grade;

• 3 days late results in a 30 percent reduction of the grade;
• 4 or more days late results in failure of the grade.
* I do occasionally allow extensions on submission of work to
students who ask before the due date. I try
to be generous and understanding. However, if you abuse these
extensions, I may respond with a “no.”
*Exceptions will be made for ongoing medical conditions.
Please speak with me regarding this policy.
PLEASE NOTE: Failure to turn in your final project on time
will
result in automatic failure of this course.
7
C o m p u t e r M a l f u n c t i o n s :
A special note about computers: Be aware that a broken or ill-
functioning computer or the inability to
retrieve, produce, or submit your assignments from your
computer will not be accepted as a valid excuse.
Save all your documents to both a flash drive and your hard
drive.
• No papers sent via email for grading.
• All assignments to required Discussion or SafeAssign links if
you want comments or a grade
• Blackboard issues are your responsibility to solve immediately
• Send me a copy by email to show completion, but you must

still submit it properly to Blackboard.
Due to technical issues with Blackboard and the Internet, it is
highly advisable to write your
discussion board posts in a MS Word document. When you have
finalized your thoughts, double-space your
document, and then copy and paste into the discussion. This
will prevent potential meltdowns should you
encounter a power-outage or Blackboard error message, which
does happen, often – very often!
T h e W r i t i n g C e n t e r a n d S t r u g g l e s w i t h W
r i t i n g
If you are near campus, you may visit the East Campus
Communications Center (Bldg. 4, Rm. 120) or
schedule a West Campus Online Writing Consulation. This will
highlight our commitment to collaboration,
rewriting, rethinking, and re-vision, and hopefully you will gain
some new and useful insight regarding
your own writing processes and topics. You can go there for any
writing, reading, or speech concerns in
any course you are taking here at Valencia. I will also be
posting a link to SmartThinking – an online
service with a certain number of free hours provided to all
Valencia students.
And please, if you are having difficulty in this course, email
me. Your success is the reason I am here.
At the same time, please have some ideas formulated in your
mind about the issues you are having or the

material you are not grasping instead of sending me an email
that says “I don’t know what to write on”
or “I’m just not a good writer.” No one is asking you to be a
good writer or the best film analyst, but
rather to write well (and with some dignity, investment, and
realness), giving analysis of film your best
shot. While I sympathize with writer’s block and any lack of
confidence in your writing/thought process
that you might have, my sympathy will not get you a better
grade.
D i s c l a i m e r :
I reserve the right to change the syllabus schedule at any time
during the semester as we, as a
class, may move more slowly or quickly through material than
another group of students.
We have a projected schedule in this class, but this schedule is
likely to change if there’s a
Blackboard error, system malfunction, or if I have to take time
off work for sickness,
conferences, or meetings. Failure to read the course
announcements and emails from me does not
excuse you from knowing what’s due and when. You are 100%
responsible for keeping up with
everything that goes on in this class.
Whining and bellyaching will be frowned upon. Refusal to
participate in class or outside of
class in discussions will be viewed as apathetic behavior.
Actively participating in your own

success in this course is the only way to achieve that success.
This policy is implemented to guarantee the morale of the
classroom, the rights of all students
in my classroom to a respectful environment where voices are
valued, and an impediment free
educational experience. Choosing to disrespect the classroom
environment or anyone’s right to be
educated within it will result in a forfeiting of your own
personal right to that respect.
8
A Note about Wikipedia and Other Internet Sources:
You are responsible to check that source is a legitimate
academic source
“I am returning this otherwise good typing paper to you because
someone has printed gibberish all
over it and put your name at the top” (Anonymous, English
Professor, Ohio University).
While Wikipedia, SparkNotes, IMDb.com and the like can be
great starting sources, such sites
are terrible breeding grounds for biased and/or false
information. Doing a search for bands
who initiated the punk rock scene will provide you with
information you may need to begin your
search, for example, giving you names of bands, venues, and a

timeline of events and
developments within the music genre. But, once you’ve found
your keyword information on these
sites, move on to more scholarly resources for the information
utilized in your paper. The
sources sources will not be accepted as academic sources within
your written work.
P l a g i a r i s m R e s u l t s i n F a i l u r e :
Plagiarism is using ANY unoriginal idea without citation
“It's not plagiarism - I'm recycling words, as any good
environmentally conscious writer would
do” (Uniek Swain)
Write your own papers. I expect that ideas presented as your
writing were authored by you and
that all outside sources have been cited properly. THIS MEANS
THAT YOU MUST CITE ANY facts,
paraphrases, quotes and ANYTHING NOT ORIGINATING IN
YOUR OWN MIND with BOTH an IN-TEXT
CITATION (in every sentence where you present such
information) and a WORKS CITED CITATION. I
have ZERO tolerance for plagiarism. Any assignment that
shows signs of plagiarism will receive
a grade of zero. Please know that having someone else “fix your
grammatical errors,” “improve
your word choice,” or other similar actions also constitute
plagiarism. Should get help from
someone else, make sure that you are the one supplying the
thoughts and word choice in the
process of revision. I quickly come to know your writing and
thought capacity and have a very
keen eye for papers written by mothers and significant others.

Please also note: If I discover
that you have copied text from the internet (from Wikipedia, a
blog, IMDB, etc.) into your
paper, presenting it as your own work, you will automatically
fail this course because this is
the worst kind of plagiarism!
Plagiarism is the use of the words or ideas of any other person,
even your mom,
without proper acknowledgement, whether or not that use is
intentional or unintentional.
Please know: committing an act of plagiarism (no matter how
minor) is grounds for failure in
this course and potential expulsion from Valencia Community
College. If at any time I suspect
an act of plagiarism in a class, you might be required to
complete an assignment in class to
demonstrate your capabilities to produce work similar to that
submitted and suspected of
plagiarism. In such instances where a request is made, refusal
will result in failure for the
final draft of the assignment. If you refuse to submit your
essay(s) to SafeAssign or if any
suspicions of plagiarism remain, you may be asked to provide a
piece of writing within the
classroom or testing center setting for a comparative writing
analysis. Failure to complete
the request will result in failure of the entire course.
PLAGIARISM IS THE USE OF ANOTHER'S WORDS OR
IDEAS WITHOUT PROPER CITATION.
ANY IDEA DOESN’T ORIGINATE IN YOUR BRAIN HAS TO
BE DOCUMENTED WITH AN IN-TEXT AND A
WORKS CITED CITATION, ALWAYS, AND IF NOT, YOU

HAVE COMMITTED AN ACT OF PLAGIARISM.
SEE VALENCIA’S ACADEMIC HONESTY POLICY BELOW.
9
I N S T I T U T I O N A L P O L I C I E S A N D R U L E S :
MORE FINE PRINT
A c a d e m i c H o n e s t y P o l i c y N u m b e r 6 H x 2 8 :
1 0 - 1 6 :
All forms of academic dishonesty are prohibited at Valencia
Community College. Academic dishonesty includes,
but is not limited to, plagiarism, cheating, furnishing false
information, forgery, alteration or misuse of
documents, misconduct during a testing situation, and misuse of
identification with intent to defraud or
deceive. All work submitted by students is expected to be the
result of the students' individual thoughts,
research, and self-expression. Whenever a student uses ideas,
wording, or organization from another source, the
source shall be appropriately acknowledged. Students shall take
special notice that the assignment of course
grades is the responsibility of the students' individual professor.
When the professor has reason to believe
that an act of academic dishonesty has occurred, and before
sanctions are imposed, the student shall be given
informal notice and an opportunity to be heard by the professor.
Any student determined by the professor to
have been guilty of engaging in an act of academic dishonesty
shall be liable to a range of academic penalties
as determined by the professor which may include, but not be

limited to, one or more of the following: loss of
credit for an assignment, examination, or project; a reduction in
the course grade; or a grade of "F" in the
course. At the option of the professor, the campus provost may
be furnished with written notification of the
occurrence and the action taken. If such written notice is given,
a copy shall be provided to the student.
Students guilty of engaging in a gross or flagrant act of
academic dishonesty or repeated instances of academic
dishonesty shall also be subject to administrative and /or
disciplinary penalties which may include warning,
probation, suspension and / or expulsion from the College.
Student Code of Classroom Conduct – Student Code of
Classroom Conduct Policy
Activities which disrupt classroom setting and which are in
violation of this Student Code of Classroom Conduct
are those which, with or without intent to do so, are disruptive
of the essence of the educational process.
Faculty members are authorized to define, communicate, and
enforce appropriate standards of decorum in
classrooms, offices, and other instructional areas under their
supervision. In the case of the violation of the
Student Code of Classroom Conduct, the faculty member may
initiate personal conferences, verbal and written
warnings, referral to the director of student services for
counseling, and removal from the classroom pending
disciplinary action under policy 6Hx28:10-04. Examples of such
disruptive or distracting activities include,
but are not limited to, the following:
• Activities that are inconsistent with commonly acceptable
classroom behavior and which are not conducive
to the learning experience, such as: tardiness, leaving and
returning during class, and early departure

when not previously authorized;
• Activities which violate previously prescribed classroom
guidelines or constitute an unreasonable
interruption of the learning process;
• Side discussions which are irrelevant to the subject matter of
the class, that distract from the
learning process, or impede, hinder, or inhibit the ability of
other students to obtain the full benefit of
the educational presentation; and,
• Utterances of "fighting words" or epithets directed specifically
toward other persons with the purpose or
effect of creating a hostile educational environment or which
may reasonably be expected to incite imminent
or immediate violence.
Violation of the Student Code of Classroom Conduct shall
constitute grounds for student disciplinary action as
provided in Policy 6Hx28:10-04.
W i t h d r a w a l P o l i c y
Per Valencia Policy 4-07 (Academic Progress, Course
Attendance and Grades, and Withdrawals), a student who
withdraws from class before the established deadline for a
particular term will receive a grade of “W. A
student is not permitted to withdraw after the withdrawal
deadline of April 1, 2016. A faculty member will
withdraw a student up to the beginning of the final exam period
for violation of the class attendance policy.
A student who is withdrawn by faculty for violation of the class
attendance policy will receive a grade of “W”.
Any student who withdraws or is withdrawn from a class during
a third or subsequent attempt in the same course
will be assigned a grade of “F.” If you do not intend to
complete the course, you must withdraw yourself prior
to the withdrawal date: 4/1. For a complete policy and

procedure overview on Valencia Policy 4-07 please
go to:
http://valenciacollege.edu/generalcounsel/policydetail.cfm?Reco
rdID=75.
10
D i s a b i l i t y S t a t e m e n t :
Students with disabilities who qualify for academic
accommodations must provide a Notification to
Instructor (NTI) form from the Office for Students with
Disabilities (OSD) and discuss specific needs
with the professor, preferably during the first two weeks of
class. The Office for Students with
Disabilities determines accommodations based on appropriate
documentation of disabilities. (Bldg. 5 Rm.
216, Ph: 407/ 582-2229, TTY: 407/582-1222).
S t u d e n t A s s i s t a n c e P r o g r a m :
Valencia College strives to ensure all our students have a
rewarding and successful college
experience. To that purpose, Valencia students can get
immediate help with issues dealing with stress,
anxiety, depression, adjustment difficulties, substance abuse,
time management as well as relationship
problems dealing with school, home or work. BayCare
Behavioral Health Student Assistance Program (SAP)
services are free to all Valencia students and available 24 hours
a day by calling (800) 878-5470. Free
face-to-face counseling is also available.

C o u r s e C a t a l o g u e D e s c r i p t i o n a n d P r e r e q
u i s i t e s :
Techniques of American, British, and foreign-language films.
Emphasis on films of 30's through
contemporary cinema
V C C o m p e t e n c i e s :
Think, Value, Communicate, and Act are Valencia's core
competencies. In this class, you will develop
these four cores through reading, viewing, online and face-to-
face discussion, group work, writing, etc.
C o u r s e O u t c o m e s :
Think: As you engage with the texts we will be reading,
watching, and listening to, you will be asked to
think critically and creatively about them. You will also have to
apply and hone your skills of analysis
and synthesis as you evaluate and incorporate material from
your experiences and opinions, the original
texts, and the critiques of scholars, and so on.
Value: Through the process of reading, writing, and watching in
relation to various films, you will gain
an appreciation of a variety of approaches and thoughts within
the field of film studies. Through class
discussions and writing, you will also gain an understanding of
and appreciation for the opinions of
others (peers, critics, etc.). You will also gain an appreciation
for the strengths and weaknesses of
others and yourself.

Communicate: Through discussion, you will engage in
thoughtful dialogue with your peers and instructor
about the various films and texts that we will watch and read.
You will also express your opinions and
integrate the opinions of others into your writings and share
these with your peers. You will communicate
your research findings in written presentation. By doing so, you
will enhance your learning and that of
others.
Act: You will take personal responsibility for your own
learning, work, collegial attitude, and behavior
and participate fully and to the best of your ability in the
learning environment. You will also become
an “active” viewer.
I m p o r t a n t D a t e s
Fall 2015: Classes begin 1/11. Classes end 4/24. Withdrawal
deadline for W grade is 4/1. Final
Exams held 4/25, online via Blackboard.
College Closed (Credit Classes Do Not Meet): 1/18, 2/12, and
3/30-4/3
See College calendar for important dates and final exam
schedule at
http://valenciacollege.edu/calendar
Links to the College Catalog, Policy Manual, and the Student
Handbook
College Catalog: http://valenciacollege.edu/catalog/current/
Policy Manual: http://www.valenciacollege.edu/generalcounsel/

Student Handbook:
http://valenciacollege.edu/studentdev/CampusInformationServic
es.cfm
11
T i p s f o r S u c c e s s :
your computer.
– print your assignments and read
them offline, use a word
processor to compose your work before posting them to the
course.
focuses on and models student
engagement, so it’s important to be present regularly.
Often a colleague will
have a good answer for you.
activities. If not, your other work
will expand to fill all the time you have. Remember that you
need to be “active and
present” throughout the entire course in order to be successful.

Don’t wait until the last
minute to submit your work.
begins to “act up,” contact the
Blackboard Help Desk immediately (407-582-5600).
-up copies of all of your coursework on a flash
or jump drive.
R e s o u r c e s a n d C o p y r i g h t :
All of the resources within the class are intended for the use of
the participant during
the course and may be used personally after the course is
completed. However, all
resources are the property of Valencia College and its
cooperating authors, and may not
be offered via the internet or other means to persons not having
completed this
workshop, for profit or any other informational use. For more
information go to the
Valencia Copyright Policy page.
Q u e s t i o n s ?
Contact me: [email protected] I return messages promptly. If
for some reason you do not hear back from me in 48 hours,
please resend
your email.
If you are having technical problems, contact Blackboard Help

at 407-
582-5600 or email [email protected]
Please remember:
On weekends, holidays, and other times outside of office hours,
you can expect a delay in response to email due
to the fact that I have time off and often spend that time in
meetings or enjoying my kids, friends, and
family. I also care about my students, so an email at 4am on a
Saturday night is possible. Be proactive, but
also be respectful to the fact that I have a life outside of work!
☺
12
Course Reading &
Assignment Schedule
Important things to know about this schedule:
# This schedule should be printed and sitting next to you while
working on
this course online
# Although links for some reading materials are provided here,
you should

access your reading materials in the appropriate Weekly
Modules folder
in Blackboard to make sure you don’t miss anything.
# We will not watch the films listed. We will watch clips from
those
films, though you are welcome to watch the films on your town
time.
# Citations for the stories, poems, films, songs, and scholarly
articles/books included in this reading schedule are only partial
citations. To ensure proper citation of the literature, refer to the
PURDUE OWL course resource and locate any additional
publication
information through a Google search. Often Amazon.com and
IMDB.com will
provide any missing information required. Don’t hesitate to ask
questions if you are having trouble locating additional citation
information.
# To make citing sources from the course easier for you, you
will notice
that I’ve indicated the type of citation and type of source. To
find the
correct citation, do a Google search for PURDUE OWL and the
TYPE OF
CITATION LISTED.

13
WEEKS 1-2: THE SOCIAL OUTCAST AND THE PRICE OF
ACCESS TO THE IN-CROWD (JANUARY 11 – JANUARY
24)
Scholarly Reading: (Type of Citation: Book; Type of Source:
Scholarly)
Listen to online lecture on the following piece of scholarship.
You do not need to read this chapter, but you are required to
know
the important elements of the chapter outlined in the lecture
Eagleton, Terry. “What is Literature.” Literary Theory: An
Introduction. (1996) (Book)
http://www.dartmouth.edu/~engl5vr/Eagle1.html
http://anilpinto.blogspot.com/2009/07/summary-of-what-is-
literature-by-terry.html
Read: Corrigan, Tim. “Film Terms and Topics for Film Analysis
and Writing.” A Short Guide to Writing about Film. (2010)
Literary Reading: (Type of Citation: Short Story in Anthology;
Type of Source: Literature)
Le Guin, Ursula K. “The Ones Who Walk Away from the
Omelas.” New Diminsions (1973).

Film Clips Viewing: (Type of Citation: Film; Type of Source:
Literary)
Hunger Games. Dir. Suzanne Collins. Perf. Jennifer Lawrence,
Josh Hutcherson, Liam Hemsworth, and Woody Harrelson.
Lionsgate, 2012.
Audio Listening: (Type of Citation: Audio Sound Recording;
Type of Source: Literary)
Talking Heads. “Psycho Killer.” Talking Heads: 77 (1977)
http://www.youtube.com/watch?v=O52jAYa4Pm8&feature=relat
ed
Public Enemy. “Harder Than You Think.” To Sell a Soul to a
Souless People Who Sold Their Soul? (2007) & “Fight the
Power.”
Fear of a Black Planet.
http://www.youtube.com/watch?v=pCx5Std7mCo
https://www.youtube.com/watch?v=2WHe5fxS3dA
MGMT. “Time to Pretend.” Oracular Spectacular. (2008)
https://www.youtube.com/watch?v=B9dSYgd5Elk
Rihanna. “Man Down” Loud. (2011)
https://www.youtube.com/watch?v=sEhy-RXkNo0

Friday: Syllabus Quiz and “I’d Like to Introduce” discussion
board NO SHOW
assignments are due Friday of Week 1 by midnight. Failure to
submit BOTH of these
assignments will result in withdrawal from the course as a NO
SHOW.
14
WEEKS 3-4: NEGOTIATING IDENTITY: BETRAYALS,
REDEMPTIONS, AND THE PRESENT (JANUARY 25 –
FEBRUARY 7)
Scholarly)
Listen to online lecture on the following piece of scholarship.
You do not need to read this chapter, but you are required to
know
the important elements of the chapter outlined in the lecture
Kellner, Douglas. “Cultural Studies, Multiculturalism, and
Media Culture.”
http://pages.gseis.ucla.edu/faculty/kellner/papers/SAGEcs.htm
Literary Reading: (Type of Citation: Poem on Website; Type of
Source: Literature)
Giovanni, Nikki. “Quilting the Black-Eyed Pea: We’re Going to

Mars.” (2002)
http://www.youtube.com/watch?v=BhxQKOMt79k
Hammad, Suheir. “First Writing Since: Poem on Crisis of
Terror.” In Motion Magazine. (2001)
http://www.inmotionmagazine.com/ac/shammad.html
http://www.youtube.com/watch?v=zS7xOqjjAow
Baraka, Amiri. “Somebody Blew Up America.”
CounterPunch.org. 03 October 2002. Web.
http://www.counterpunch.org/2002/10/03/somebody-blew-up-
america/
http://www.youtube.com/watch?v=KUEu-pG1HWw
Suárez, Mario. “El Hoyo” Chicano Sketches. (1947)
Laviera, Tato. “AmeRican.” AmeRican. (1985)
Film Viewing: (Type of Citation: Film; Type of Source:
Scholarly)
Real Bad Arabs: How Hollywood Villifies a People. Dir. Jeremy
Earp and Sut Jhally. Perf. Jack Shaheen. Media Education
Foundation, 2006. (Available on YouTube)
Literary)

Crash. Dir. Paul Haggis. Perf. Don Cheadle, Terrence Howard,
Chris Bridges, Bahar Soomekh, Michael Peña, Larenz Tate,
Jennifer Esposita, Matt Dillon, Sandra Bullock, Karina
Arroyave, and Ryan Phillippe. Lionsgate, 2004.
The Narcicyst. “Phatwa.” The Narcicyst & “Spy Oud.” Fear of a
Muslim Planet.
https://www.youtube.com/watch?v=TtoHCUMpNMY
https://www.youtube.com/watch?v=UQt3B2ad1WI
Lowkey. “Obama Nation.” Soundtrack to the Struggle.
https://www.youtube.com/watch?v=z4OI0GUCI_A
Nas. “The World Is Yours.” Illmatic. 1994
http://www.youtube.com/watch?v=Btp8BpYFSBs
Radiohead. “Everything in Its Right Place.” Kid A. (2000)
http://www.youtube.com/watch?v=VrpGhEVyrk0
WEEK 5: RESEARCH, Q&A, REVISION, AND SUBMISSION
OF ESSAY 1 (FEBRUARY 8 – FEBRUARY 14)

15
WEEKS 6-7: COMING OF AGE IN THE 21ST CENTURY
(FEBRUARY 15 – FEBRUARY 28)
Scholarly)
Listen to online lecture
Excerpts: Friedan, Betty. The Feminine Mystique. (1963)
Corrigan, Tim. “Researching the Movies.” A Short Guide to
Writing about Film.” (2010)
Corrigan, Tim. Excerpts from A Short Guide to Writing about
Film.” (2010)
Literary Reading: (Type of Citation: Short Story in Book; Type
of Source: Literature)
Diaz, Junot. “How to Date A Brown Girl (Black Girl, White
Girl, Halfie).” Drown (1996) and “The Sun, the Moon, the
Stars.”
This Is How You Lose Her. (Excerpt: 2012).
Listen here: http://www.youtube.com/watch?v=cxqB7X1v77A
Listen here (Part 1):
http://www.youtube.com/watch?v=iQLL9aW3Tu0
Listen here (Part 1):
http://www.youtube.com/watch?v=yQ4chAcL_qI

Kincaid, Jamaica. “Girl.” At the Bottom of the River. (1983)
http://bcs.bedfordstmartins.com/virtualit/fiction/Girl/story.asp
De Mireles, Jovita Gonzàlez. “Traga-Balas (The Bullet-
Swallower).” The Woman Who Lost Her Soul: And Other
Stories (1935)
Millay, Edna St. Vincent. “I, Being Born a Woman and
Distressed” and “My Candle Burns at Both Ends”
Film Viewing: (Type of Citation: Film; Type of Source:
Literary)
Mi Vida Loca. Dir. Allison Anders. Perf. Angel Aviles,
Seidy Lopez, and Jacob Vargas. Channel 4 Films, 1994.
(Available on
YouTube: See link in BB)
Film Clip Viewing: (Type of Citation: Film; Type of Source:
Literary)
Baby Boy. Dir. John Singleton. Perf. Tyrese Gibson, Omar
Gooding, Taraji P. Henson. A. J. Johnson, Snoop Dogg, Ving
Rhames. Columbia Pictures, 2001.
Shumer, Amy. “One Night Stand.” Inside Amy Schumer.
https://www.youtube.com/watch?v=YU2L5AUKtyc

Audio Listening (choose 2): (Type of Citation: Audio Sound
Recording; Type of Source: Literary)
The Knife. “Heartbeats.” Deep Cuts. (2003)
http://www.youtube.com/watch?v=4ow0bA4H3BQ
Harvey, Polly Jean. “Rid of Me” Rid of Me (1993)
http://www.youtube.com/watch?v=zoO15PJQ43Y&feature=relat
ed
http://www.youtube.com/watch?v=RzwG3r9_L9o
Broadcast. “Corporeal.” Tender Buttons: Objects, Food, Rooms
(2005)
http://www.youtube.com/watch?v=kr2473XpG98
http://www.youtube.com/watch?v=HP18LAFFEQI&feature=rela
ted (Live Performance)
Hozier. “Take Me to Church” Take Me to Church. (2014)
https://www.youtube.com/watch?v=sEhy-RXkNo0
Hudson, Jennifer. “Think Like a Man.” Think Like a Man
Official Sound Track: (2012)
http://www.youtube.com/watch?v=O52jAYa4Pm8&feature=relat
ed

16
WEEK 8-9: THE HISTORY OF CONTROL: SEXUALITY,
BIRTH, AND REBIRTH (FEBRUARY 29 – MARCH 20)
Scholarly Reading: (Type of Citation: Website; Type of Source:
Scholarly)
Listen to online lecture
“The Pill.” PBS.org. 2002. Web. (Read Transcript and Examine
Timeline, Gallery, and Primary Sources)
http://www.pbs.org/wgbh/amex/pill/filmmore/pt.html
http://www.pbs.org/wgbh/amex/pill/filmmore/fd.html
Vonnegut, Kurt. “Welcome to the Monkeyhouse” Welcome to
the Monkey House. (1978)
http://www.youtube.com/watch?v=OdFAAozfP5c
Huxley, Aldous. “Chapters 16 - 18” Brave New World.
http://www.huxley.net/bnw/sixteen.html
Film Clip Viewing (one of the two): (Type of Citation: Film;

Clockwork Orange. Dir. Stanley Kubric. Perf. Malcolm
McDowell, Patrick Magee, and Michael Bates. Warner Bros.,
1972.
Children of Men. Dir. Alfonso Cuarón. Perf. Clive Owen,
Julianne Moore, and Michael Caine. Universal Pictures, 2006.
Audio Listening (choose 2): (Type of Citation: Audio Sound
Recording; Type of Source: Literary)
Blackstar. “Definition.” The New Danger (2004)
http://www.youtube.com/watch?v=CZ7YLjyJkZg
Smith, Elliot. “Needle in the Hay.” Elliot Smith. (2005)
Watch Royal Tenenbaum’s clip here:
https://www.youtube.com/watch?v=9pyBB7y8fDU
System of a Down. “Therapy.” Steal This Album. (2002)
http://www.youtube.com/watch?v=xYvtRBqNhXs&feature=fvwr
el
Modest Mouse. “Lampshades on Fire.”
http://www.youtube.com/watch?v=pfJE-WF_a1c
Built to Spill. “Carry the Zero”
https://www.youtube.com/watch?v=3-f7zsW7EV4

17
WEEKS 11-12: BRAVE NEW WORLD: THE ART OF
REMEMBERING AND REENVISIONING THE FUTURE
(MARCH 28 –
APRIL10)
Scholarly Readings: (Type of Citation: Book; Type of Source:
Scholarly)
Tatum, Beverly. “Talking about Race, Learning about Racism:
The Application of Racial Identity Development Theory in the
Classroom. Havard Educational Review. 61.1 (1992): 1-24.
Literary Readings: (Type of Citation: Speech; Type of Source:
Speech)
Douglass, Frederick. “What to the Slave is the 4th?”
(Independence Day Speech, Rochester, NY, 1852)
Dunbar, Paul Laurence. “We Wear the Mask.” We Wear the
Mask. (1895)
http://www.potw.org/archive/potw8.html

Hughes, Langston. “I, Too.” The Collected Poems of Langston
Hughes. (2002)
(Listen here:
http://www.poetryarchive.org/poetryarchive/singlePoem.do?poe
mId=1552)
Marson, Una. “Kinky Hair Blues” & “Cinema Eyes.” Moth and
the Star (1937)
Adams, Nordette. “Behind the Color Blind.” AuthorsDen.com.
(2005)
Alvarez, Julia: “Names/Nombres.”
http://www.humble.k12.tx.us/cms/lib2/TX01001414/Centricity/
Domain/2400/Names%20Nombres.pdf
Kingston, Maxine Hong: “No Name Woman”
https://docs.google.com/document/d/1YCpWdAG29ub0xMKHg
Ra3fYQuxpThVL9tG-u0Nl3Vp1A/edit?pli=1
Alexie, Sherman. “Evolution.”
http://www.poemhunter.com/poem/evolution-4/
Alexie, Sherman. “What You Pawn I Will Redeem.” The New
Yorker. http://www.newyorker.com/magazine/2003/04/21/what-
you-pawn-i-will-redeem
Literary/Scholarly)

Django Unchained. Dir. Quentin Tarrantino. Perf. Jamie Foxx,
Christoph Waltz, Leonardo DiCaprio, Kerry Washington, and
Samuel Jackson. The Weinstein Company, 2012.
Slavery by Another Name. PBS. 13 Feb 2012.
SlaverybyAnotherName.com. Web.
http://video.pbs.org/video/2176766758/
---------------------------------------------------------------------------
--------------------------------------------------------------------------
Cohen, Leonard. “Everybody Knows.” I’m Your Man. (1988)
http://www.youtube.com/watch?v=yG5e1oaen-M
Marley, Bob. “Redemption Song” Uprising. (1980)
http://www.youtube.com/watch?v=OFGgbT_VasI
18
WEEKS 13-14: MUSIC: TALES OF FORGETTING AND
TALES OF HISTORY (APRIL 11 – APRIL 24)

Scholarly)
Lowen, James W. “Handicapped by History: The Process of
Hero-making.” Lies My Teacher Told Me. (1996)
(read pages 1-16)
Baldwin, James. “Sonny’s Blues.” Going to Meet the Man
(1965)
Palahniuk, Chuck. “Zombie”:
http://playboysfw.kinja.com/zombie-a-new-original-short-story-
by-chuck-palahniuk-1465542446
Dahl, Roald. “Lamb to the Slaughter” http://gibil.univ-
paris8.fr/sites_sat/depa/IMG/pdf/lamb_to_the_slaughter_by_roa
ld_dahl-2.pdf
Film Clips Viewing (choose 1): (Type of Citation: Film; Type
of Source: Literary)
Mystery Train. Dir. Jim Jarmusch. Perf. Youki Kudoh,
Masatoshi Nagese, Screamin’ Jay Hawkins, Cinqué Lee,
Nicoletta
Braschi, Elizabeth Bracco, Rick Aviles, Joe Strummer, and
Steve Buscemi. Orion Classics, 1989.

Do the Right Thing. Dir. Spike Lee. Per. Danny Aiello, Ossie
Davis, Ruby Dee, Richard Edson, Giancarlo Esposito, Spike
Lee, Bill Nunn, John Turturro, and John Savage. Universal
Pictures, 1989.
Eternal Sunshine of the Spotless Mind. Dir. Michel Gondry.
Perf. Jim Carrey, Kate Winslet, Kirsten Dunst, Mark Ruffalo,
and Elijah Wood. Focus Features, 2004.
Audio Listening (choose 3: “Teardrop” can only be chosen
once): (Type of Citation: Audio Sound Recording; Type of
Source:
Literary)
West, Kanye. “Who Will Survive in America.” My Beautiful
Dark Twisted Fantasy. (2010)
http://www.youtube.com/watch?v=n2Wsy8jHPk4
Kweli, Talib. “More or Less.” Ear Drum. (2007)
http://www.youtube.com/watch?v=JHIGKOpefBw
Primus. “American Life.” Sailing the Sea of Cheese (1992)
http://www.youtube.com/watch?v=Q1F_88UksxA
Gaye, Marvin. “Inner City Blues (Make Me Wanna Holler)”
What’s Going On (1971)

http://www.youtube.com/watch?v=1tOpwgrqshU
Cash, Johnny. “Fulsom Prison Blues” With His Hot and Blue
Guitar (1955)
http://www.youtube.com/watch?v=lWsuVuw5JO4
Lamar, Kendrick. “HiiiPoWeR.” Section 80. (2011)
http://www.youtube.com/watch?v=ep0hay4Qw54
Shakur, Tupac. “Changes.” 2pacalypse. (1992)
http://www.youtube.com/watch?v=eXvBjCO19QY&ob=av2n
The Beatles. “Come Together.” Abbey Road (1969)
http://www.youtube.com/watch?v=axb2sHpGwHQ
19
Heron, Gil Scott. “The Revolution Will Not Be Televised” The
Revolution Will Not Be Televised (1974)
http://www.youtube.com/watch?v=BCzvlLlJo68&feature=relate
d
Nas. “You Can’t Stop Us Now.” Untitled. (2008)
http://www.youtube.com/watch?v=GvhpGwDjct0

Difranco, Ani. “Fuel.” Little Plastic Castle. (1998)
http://www.youtube.com/watch?v=55AZRDkMZJs
Massive Attack. “Teardrop.” Mezzanine. (1998)
http://www.youtube.com/watch?v=yftOy8kz7aE
Gonzalez, Jose. “Teardrop.” In Our Nature. (2007)
http://www.youtube.com/watch?v=oKo8Czj112I
Guided by Voices. “As We Go Up, We Go Down.” Alien Lanes.
(1995)
http://www.youtube.com/watch?v=uHwVnNBQaIg
WEEK 15: FINAL EXAM: THE FINAL EXAM WILL OPEN AT
MIDNIGHT ON MONDAY, APRIL 25 AND CLOSE AT NOON
ON
APRIL 25. THE FINAL EXAM WILL TAKE PLACE IN THE
OUR BLACKBOARD COURSE. WE WILL NOT HOLD A
CLASS
MEETING DURING WEEK 15.

20
Essential
Information
You Need to
Know about
Formatting
Course Assignments
&
Taking An
Online/Hybrid
Course
21
W h a t M a k e s a G o o d D i s c u s s i o n P o s t :
engaged with the films and scholarly articles
(demonstrating that you’ve completed assigned materials) and
contribute to the overall learning of the
group
-provoking: ideas stimulate thinking and reasoning in
relation to the films and scholarly articles

e to respond,
which contributes to a rich discussion board
setting
toward logical fallacies
Discussion Board (DB) posts should be respectful. While you
may argue a classmate’s point of view, you should
never “attack” a classmate personally. Write your discussion
posts for an academic audience, and pay attention
to the content, grammar, spelling, and punctuation in your post.
Because DB posts are not informal emails or
casual text messages, refrain from using abbreviations such as
“LOL” and “BTW” or “i” for the pronoun “I” and
“u” for the pronoun “you.”
Initial Posts
# Each discussion board will have its own set of directions to
follow (along with the general guidelines
outlined above).
# You are expected to refer to unit films in your discussion
board post and the scholarly articles you
choose to read throughout the unit, synthesizing information to
prove your interpretations and analyses.
# You are also expected to use film terminology and concepts
from both the Tim Corrigan textbook and the
course lectures.

Response Posts: 4 responses to your peers are required. These
responses have corresponding instructions found
in Blackboard
# Follow the instructions in BB. You expect no points for this
portion of the discussion if you don’t
# Responses to classmates’ postings, when required, should do
more than simply say, “I agree with what you
have said. I feel the same way” or just recite a classmate’s post.
The response post must be substantive.
Expand on the classmate’s post. Perhaps you have a slightly
different perspective on the topic or can
supply a different example. If the post provoked a question, ask
it.
# Each of your response posts must be original. I expect you to
read existing peer responses before posting
your own and say something different. This should give you
incentive to get your peer responses done as
early as possible. Do not copy a response you made to one
student and re-use it with slight modifications
to respond to another student’s post. “Re-used” posts are not
original and will receive no points.
# Your response posts should provide evidence that you have
read and comprehended the assignments,
readings, lectures, and film viewings. They should also provide
evidence of critical thinking
(Explanations of why you think what you think).
# They should be thought provoking. For example, I expect you

to provide specific examples from the films
of the class and explain how those examples demonstrate the
point you are trying to make in relation to
your peer’s post.
# I also expect you to provide outside examples, state clear
opinions and explain how the opinion is
derived from the films (i.e. show your work), consider alternate
perspectives and interpretations, and
highlight inconsistencies and/or consistencies present between
different perspectives and
interpretations.
MLA
For discussion board posts, cite all paraphrases, summaries, and
direct quotations from outside sources,
including the reading assignments, according to current Modern
Language Association(MLA) guidelines.
Failing to do so will cause your posting to receive a zero. If the
instructions require that you provide a
Works Cited page, include one with your post.
Attachments
Do not attach documents to your posts, unless I specifically
request it. Attachments will not be read, and
you will not receive any credit for your post.

22
F O R M A T T I N G O F A S S I G N M E N T S A N D E S
S A Y S :
REVIEW THIS BEFORE SUBMITTING ANY OUTSIDE
WORK
All assignments completed outside of class should formatted
according to MLA Guidelines! Your work needs
to be spell-checked and free from typographical and
grammatical errors.
For the final essay: Put header information in the upper left
hand corner of the first page (and not in
the header). All work must be double-spaced with 1-inch
margins and a standard 12-inch, Times New Roman
font. Page numbers are placed in the right hand side - in the
header, along with your last name before
the page number, continuing consecutively into the last page of
your essay – your works cited page.
Included your works cited page in your essay document as you
will not be allowed to submit two files to
SafeAssign.
Spacing: An essay is double spaced with ZERO extra spaces.
The indentation of the works cited page is
opposite of the first part of the essay. For paragraphs, indent
first line by ½ inch. For works cited
citations, indent every line but the first by ½ inch using the
“hanging indent” option for paragraph
formatting.

“Bold, Italics, and Quotes”: No part of your paper should be in
bold. The title of your paper is in
regular, unbolded, unitalized font and is not placed in quotation
marks. The only reason you would ever
use italics or quotes in your title is if you are including a title
of another work in its proper MLA
formatted style, for example: Conformity to and Reversing of
Stereotypes in Paul Haggis’ Crash and Junot
Diaz’s “How to Date a Brown Girl”
Generally, italics are used to denote a complete whole,
something that is not part of something else. For
example, books, music albums, DVDs, pieces of art, scholarly
journals, websites, and television series go
in italics.
Quotation marks, on the other hand, denote that something is
part of a larger whole. For example,
chapters of books, tracks on a music album, chapters of DVDs,
scholarly journal articles, pages on a
website, and episodes of a television series go within quotation
marks.
Another helpful rule: If you have something in your works cited
page citation that is in quotation marks,
you ALWAYS need something else in italics.
And just in case you are ever tempted, never, ever, ever, ever
put a title in both italics and quotation
marks :) No really, never, ever!
After use of another’s thoughts, paraphrase of a quote, or quote,
use an in-text citation.
Do not put a period before your in-text citation. Put the period

after your in-text
citation, like this (Grajeda 21).See the following Purdue OWL
resource for formatting in-
text citations:
Block Quote: Generally, any quote that is longer than four lines
gets “block indented.” This means that
you will usually put a colon where you would normally begin
the quote and then return the next line and
indent the entire quote by one inch from the margin (2 inches
from the side of the page after
printing).Put a period after your quote and then put your in-text
citation. You do not use quotes when
you block indent as the block indent insinuates that quoting is
taking place.
To format page numbers, go to “insert” and then “page
numbers” and choose to put them on the top right
side of the page. Once you have done this, you can click on the
space before the number and type in your
last name. It will then appear on every page with your page
number. Double click within your essay to get
back out of the header, which is where your page numbers are
located.
23
Your Name(s) and group number if applicable
My Name (spelled correctly)
ENG2100.#####

Due Date
Assignment Title
Creative Title Centered: Subtitle Referencing Thesis Statement
(no underline, italics, or quotes unless specifying the title of
another text)
[Your introductory paragraph goes here. Introductory
paragraphs begin broad and narrow down to a specific
idea. Don’t forget to include your thesis statement – which
always includes an observation plus and opinion. Always
review your introduction after you have composed your body
paragraphs to make sure you deliver on the promises you
make in the introduction and most importantly in your thesis.]
[Your first body paragraph goes here. Don’t forget to include
the transitional topic sentence. The Topic
sentence gives a broad overview of the contents of the
paragraph. Always review your body paragraphs after you’ve
written them to verify that they don’t veer off topic. If your
paragraph has gone off topic, you will need to either
revise it or revise your topic sentence. Use details,
interpretations of details, synthesis, and analysis in each
body paragraph.End with a sentence that explains how the
information contained directly backs up or supports your

thesis.]
_____________________________________________________
_____________________________________________________
________________________
_____________________________________________________
_____________________________________________________
______________________
Last Name 2
[Your next body paragraph goes here. All subsequent
paragraphs follow this format. Don’t forget to include
the topic sentence. Always review your body paragraphs after
you’ve written them to verify that they don’t veer off
topic. End with a sentence that explains how the information
contained directly relates to your thesis.]
[Your next body paragraph goes here. All subsequent
paragraphs follow this format. Don’t forget to include
the topic sentence. Always review your body paragraphs after
you’ve written them to verify that they don’t veer off
topic. End with a sentence that explains how the information
contained directly relates to your thesis.]
[Your concluding paragraph goes here. Your conclusion should
explain how what you have chosen to discuss in
the body paragraphs comes together to prove your thesis (or
demonstrates the point you are making). This should

occur through the process of synthesis – pulling the details of
your essay together to explain the way they form a
complete whole. Finally, always answer the questions “so what”
and “who cares” in relation to your thesis/topic.
24
Don’t forget to put your Works Cited page on it’s own page.
You can do this by going to “Insert” and
choosing “break” and “page break”
(page break/hold “control/enter” simultaneously)
_____________________________________________________
_____________________________________________________
_________________________
Last Name 3
Works Cited
All of your works cited page citations should be alphabetized
and placed in hanging indent. All major words should
be capitalized. Non-major words include prepositions and
articles (a, an, the). When in doubt, capitalize.
To achieve hanging indent, select all the citations by holding
down the shift key while arrowing across and

down the necessary text. Open the paragraph formatting option.
Under special, choose “hanging indent.”
Works cited page citations are placed in hanging indent. To
format hanging indent, select your citations by
highlighting them. On the menu bar, choose “Format” and then
“paragraph.” Within the box that pops up, look
for the tab that says “special” and choose “hanging.” This will
automatically format your citations on your
works cited page in hanging indent.
All citations should be checked with the corresponding citation
type on the Purdue OWL website to ensure that the
correct information is included in the correct order with the
correct punctuation. This is especially
important when using a citation generator.
Please do not create your works cited page in a separate
document or leave it without a page number.
…………………………………………………………………………
………………………………………………………
Adherence to these format requirements will affect the grade.
All sources must be documented according to
MLA standards
(http://owl.english.purdue.edu/owl/resource/747/01/)
25

TAKING A HYBRID OR ONLINE COURSE: A MUST READ
(YO U W I L L B E T E S T E D O N T H I S I N F O R M
A T I O N I N Y O U R S Y L L A B U S Q U I Z)
If you are not familiar with Valencia's online course
components, you may want to complete the online course
designed for training students to navigate this environment. If
you are uneasy about completing work in an
online environment, you would be strongly encouraged to take a
non-hybrid, non-online section of ENC 1102. You
may also want to consider that completing work online is
generally an option that best serves students who need
the convenience of working off-campus on their own schedule.
However, in spite of its convenience, a hybrid or
online course generally requires more work-time than a regular
face-to-face course and more time management
skills. Please be prepared for these two elements of learning
before committing to the course.
W h a t Y o u W i l l N e e d t o B e S u c c e s s f u l
(From: The Virtual Student by Palloff and Pratt):
-speed connection.
management system. There is a slight learning
curve, so be sure to budget time in the first week of class to
familiarize yourself with the class
environment and learn how to navigate around it.
nline
learning is very visual and very “hands

on the keyboard.” (If you don’t know your preference take the
online version of the Barsh Invetory to
find out:
http://faculty.valenciacollege.edu/koverhiser/Learningstyles.htm
)
-minded attitude, personal honesty, and a willingness
to share your knowledge and ideas with
others in respectful ways.
easier or faster than face-to-face learning.
en anytime and
anywhere.
-reflection.
How an Online or Hybrid Course Is Different from a Face-to-
Face Course:
—especially in the first week.
You’ve probably forgotten how ill-at-ease you
felt when you first went to high school, but taking a hybrid
class for the first time is very
similar. It takes a while to learn your way around the “virtual
campus”.
will do most of your work at home, it
requires more self-discipline in setting aside time to study and
participate in the course’s learning
activities and generally takes more time than a Face-to-Face
course.

will take more time than you expect.
don’t access the course regularly, you
may miss key assignments and due dates.
you have gathered. In a hybrid course,
responsibility for learning rests equally on students and
facilitators.
interacting with others online.
O n l i n e a n d H y b r i d C o u r s e C o m p o n e n t s :
labus including a description of course, requirements, and
expectations of participants, posted on
course website.
another
wings, & Lectures
-Response
26

M y E x p e c t a t i o n s o f Y o u :
o run course
delivery platform (Blackboard).
account.
when you need help.
discussions.
organization, documentation, critical thinking,
sentence structure, and knowledge of grammar rules in relation
to film analysis.
- Complete an online survey of this course.
W h a t Y o u c a n E x p e c t f r o m M e :
estions and emails (usually
within 48 hours).
submission for on-time assignments. If you
submit an assignment late, it may not be graded until the end of
the semester!)
sion facilitation (although I may limit my
involvement so you spend more time in

discussion with peers).
as broken links, discussion settings, etc.
N e t i q u e t t e
Brave New Electronic World
Welcome to the world of online, Web-based courses. If you're
like many people, this is your first experience.
You may have taken some courses before, and you may also
have had experience with some form of electronic
communication, but an online-Web-based course is a new area
of social interaction, and as such it has its own
rules for interacting with others. This guide is intended to be an
overview of appropriate etiquette for
interaction in this new environment.
Disembodied Discussions
A key distinguishing feature of a hybrid course is that
communication occurs solely via the written word.
Because of this, the body language, voice tone, and
instantaneous listener feedback of the traditional
classroom are all absent. These facts need to be taken into
account both when contributing messages to a
discussion and when reading them. Keep in mind the following
points:
Tone Down Your Language
Given the absence of face-to-face clues, written text can easily
be misinterpreted. Avoid the use of strong
or offensive language and the excessive use of exclamation

points. If you feel particularly strongly about a
point, it may be best to write it first as a draft and then to
review it, before posting it, in order to
remove any strong language.
Keep A Straight Face
In general, avoid humor and sarcasm. These frequently depend
either on facial or tone of voice cues absent
in text communication or on familiarity with the reader.
Be Forgiving
If someone states something that you find offensive, mention
this directly to the instructor. Remember that
the person contributing to the discussion is also new to this
form of communication. What you find offensive
may quite possibly have been unintended and can best be
cleared up by the instructor.
The Recorder Is On
Think carefully about the content of your message before
contributing it. Once sent to the group, there is
no taking it back. Also, although the grammar and spelling of a
message typically are not graded, they do
reflect on you, and your audience might not be able to decode
misspelled words or poorly constructed
sentences. It is a good practice to compose and check your
comments in a word-processor before posting them.
Test For Clarity
Messages may often appear perfectly clear to you as you
compose them, but turn out to be perfectly obtuse to
your reader. One way to test for clarity is to read your message

aloud to see if it flows smoothly. If you
can read it to another person before posting it, even better.
27
Netspeak
Although electronic communication is still young, many
conventions have already been established. DO NOT TYPE
IN ALL CAPS. This is regarded as shouting and is out of place
in a classroom. Acronyms and emoticons
(arrangements of symbols to express emotions) are popular, but
excessive use of them can make your message
difficult to read. Some common ones include:
Acronyms Emoticons
FYI = for your information :-) = smiley face: happiness,
pleasure
B/C = because :-( = frowning face: displeasure
W/ = with ;-) = wink
BTW = by the way :-0 = shock, surprise
F2F = face to face :-/ = skepticism, unease, apologetic
FAQ = frequently asked questions
Citations and Other Etiquette Sources
Many of the points made here were taken from The Core Rules
of Netiquette, excerpted from the book Netiquette, by Virginia
Shea. The Core Rules of
Netiquette can be accessed at
http://www.albion.com/netiquette/corerules.html.

Further information was taken from Arlene H. Rinaldi's The
Net: User Guidelines and Netiquette, which can be found at
http://courses.cs.vt.edu/~cs3604/lib/Netiquette/Rinaldi/.
This information was taken from the UWC Online
Website:http://online.uwc.edu/technology/onletiquette.asp
M i n i m u m T e c h n o l o g y R e q u i r e m e n t s :
What Your Computer Needs: Required / Not Optional!
Internet Access
This course a reliable connection to the Internet. You are
responsible for setting up your own connection to
the Internet. A broadband connection of 384 Kbps or higher is
strongly recommended.
Hardware and Software
To ensure compatibility with the various software technologies
used in online courses, we suggest performing a
System Check on your computer. Click Here to check your
technologies.
Supported Hardware/Operating Systems
• Click Here to see Supported Operating System/Hardware
Supported Browsers
• Windows/Mac OS X: Google Chrome
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with Internet Explorer, Mozilla Firefox, or the Google toolbar,
please ensure that you check to see if your
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or open. You may consider disabling your pop-up blocker for
the browser. Also, remember all Valencia
College computers' browsers have pop-up blockers and you will
need to allow for the pop-up each time one is
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Software required: Each Program Name is also a hyperlink!
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Valencia! Send me an email for more
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display properly in SAFARI AND
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** Please Note: Smoking is not permitted on any Valencia
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MKT100
Marketing Plan
The marketing plan is a tool used to develop and present a
company’s marketing strategy. At minimum, the plan should
contain descriptive information on the company, its products or
services, target customer, marketing research, advertisement,
promotions, and a list of actions items that is supported with a
strategy plan for execution.
Directions: Create a fictional start-up company that serves the
U.S. market with a product or service.Company Overview
Owner(s):
Company Name:
Product Name:
Location:
History (yrs.):
PART A/Section 1: Executive Summary
Provide a detailed description of your company. The description
should include, at a minimum, the company’s name, its history,
founders, business purpose, and mission. This could be written
using multiple sentences, but no longer than a single
paragraph.Product description
Describe, in detail, the product or service the company produces
or services. Include trademark, color, shape, packaging,
labeling, and any characteristics that you deem relevant.
You can also include a picture of the product in this section for
visual aid.
{This section does not require any references or citations}

PART B/ Section 2: targeting customers
Consider who your customers are and identify your market
segment. Analyze the business customers / clients you wish to
target. Your analysis should include, but not be limited to, their
demographic profile (e.g., age, gender, ethnicity, etc.),
psychographic profile (e.g., interests, routine, habits, etc.),
profession (e.g., income, occupation, education), geographic
location (e.g., country, region, city, rural, urban, climate) and
their precise wants and needs as they relate to the products and /
or services you offer.
Demographic profile
[Describe your demographic profile.]
Psychographic profile
[Describe your psychographic profile.]
PROFESSION
[Describe your profession.]
geographic LOCATION
[Describe your geographic location.]
Wants and needs
[Describe precise wants and needs as they relate to the products
and / or services you offer.]
Use at least two (2) quality references cited in APA format to
support this section. Consider how you came up with this
demographic and why this target population would be interested

in purchasing your product.
Example of citing research to support your customer: According
to a report conducted by the SBA (2014), 90% of millennials
prefer technology products that are compatible with social
media. PART C-Section 3: Unique Selling Proposition
Consider what distinguishes your company from competitors,
their products and / or the price of their products and services.
unique selling proposition (usp)
Describe your unique selling proposition (USP). Next, explain
the key aspects of your business, products, or services that
make them unique when compared to your competition. (e.g.,
Southwest Airlines’ USP is providing customers with low
airfare without compromising service and comfort.)
marketing objectives
Describe the marketing objectives of your company. Your
marketing objectives should, at a minimum, address potential
customer profile and market segmentation. Explain the manner
in which you conducted your secondary market research.
support this section. Use your references to define your
understanding of USP and depict the importance of describing
your marketing objectives.
PART D/ Section 4: Pricing and Distribution Strategy
You will now consider your company’s strengths and weakness,
along with your product or service price.
strengths, weaknesses, opportunties and threats (SWOT)
Determine the key strengths and weaknesses of your company,
as well as the opportunities and threats it faces within its
industry.
The SWOT Analysis is a very useful technique for in business.
Go to Mind Tools’ Website and read “SWOT Analysis” for a
better understanding of the topic, located at
http://www.mindtools.com/pages/article/newTMC_05.htm .

supply-chain and operational system
Discuss your critical steps within your supply-chain and
operational system. Explain the key aspects of your strategies
for producing and distributing your products and services to
both your stores and customers. Determine whether you will use
an outside vendor or do everything in-house.
pricing strategy
Analyze the company’s pricing strategy relative to its pricing
objective. Examine major internal and major external factors
that could potentially affect the pricing of the company’s
products or services.
support this section. Use your references to define your
understanding of SWOT and depict the importance of describing
your supply-chain and pricing strategy.PART E- Section 5:
Distribution Plan and Promotions Strategy
You will consider mechanisms by which your customers will
purchase your products and / or services (e.g., online,
storefront, direct sells) and the primary manner in which you
intend to reach new customers (e.g., TV, radio, social media,
special events).
Consider the marketing materials that you intend to use.
According to the textbook, marketing materials are collateral
used to promote your business or products. Promotional strategy
may include free trial offers, money-back guarantees, and buy
two (2) for the price of one (1) type of deals.
distribution strategy
Determine the distribution strategy in terms of your target
market, location, and selection of distribution channels. Indicate
whether or not you will leverage the following strategies: use
stores located in different regions, sell online, and / or hire a
sales team to sell directly to suppliers and door to door.

Recommend three (3) strategy options to get your product or
services out to your customer base.
1. Insert strategy option to get your product or services out to
your customer base
your customer base
your customer base
marketing goals
Outline your main marketing goals for promotions, offers, and
giveaways. Discuss the key types of marketing materials that
you intend to develop and share.
Use at least two (2) quality references and cited in APA format
to support this section. Also consider including charts, graphs,
tables, and pictures to support your marketing goals as it relates
to promotions, offers, and giveaways. action steps (conclusion)
Propose at least three (3) action steps that you can use to move
your plan forward. Consider how, when, and who will be
involved in the execution of this plan. Formally wrap up your
marketing plan.
A conclusion is not traditionally included in a marketing plan,
but a list of action steps are often included within the plan. The
conclusion provides you with an opportunity to reflect on your
plan and support academic level writing.

Reference list (APA format)[Date]
Marketing Plan
5

Work1ENC 1102 Essay 1 Instructions (Summer 2015).pdfE N C.docx

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