ENG 2101

Session 1 Course Preview Page

Session 3 Course Preview Page

Session 3 (6 week course)

Course Name: Film as Literature

Term/Session: summer 2019 session 3

Course Number: ENG2101

Reference Number: 619749

Faculty Introduction
Hi. I love movies made for people who can think and remember. You will be watching such films, thinking about them, and remembering specific details to support your opinions about them.

Faculty Contact Information
Instructor Name: David Shaw

Office Phone: 954-201-7900

Campus Phone: 954-201-7900

Fax: 954-201-7937

Email: dshaw@broward.edu

Course Description & General Outcomes

You will study classic, contemporary, and popular movies to develop critical skills in analyzing and evaluating them. By learning what to look for and how to look for it, you will sharpen your powers of observation, establish habits of perceptive watching, and discover complexities of film art that will deepen your enjoyment of watching films.
By reading about established film genres and classics, you will be able to see how a contemporary film follows or defies tradition, and you will better understand why some films withstand the test of time while others are dismissed in a year.
By knowing the elements of plot and narrative, you will learn to appreciate well-constructed plots and you will become more quickly dissatisfied with illogical inconsistencies, strained coincidences and other implausible actions.
By being familiar with the techniques of establishing character, you will be able to understand why the people ring false or true.
By studying irony and symbolism, you will notice when these techniques enrich a film by adding subtle meanings to the story or theme.
By learning about cinematic techniques, you will come to appreciate how creative artists solve the physical problems of filmmaking.
By studying the advice and examples in the Writing Department, you will practice writing papers with a clear, perceptive thesis and useful topic sentences supported with specific evidence instead of with judgments and vague summaries.

ENG2101, THE FILM AS LITERATURE

Credit Hours: 3.

Catalog Description: Focuses on the relationships of two art forms—literature and film—and pays particular attention to how film has evolved as an art form and the ways which literature and its elements have influenced film. Also examines uses of literary techniques and the ways they have been adapted to film. Selected novels, short stories, plays, essays and/or memoirs may also be read as a means of comparing film and literature. A student must earn a grade of ―C‖ or higher to meet the requirements of the Gordon rule. You will watch one film per week.
General Education Requirements – Associate of Arts Degree (AA), meets Area(s): Area 2A
General Education Requirements – Associate in Science Degree (AS), meets Area(s): Area
General Education Requirements – Associate in Applied Science Degree (AAS), meets Area(s): Area

Course Prerequisites
To maximize your chances for success in this course, make sure that you meet the following course prerequisites:

Prerequisite: Eligibility of ENC1101

Co-requisites: none

Orientation to Online Learning

To be successful in an online course, you should assess your readiness to successfully engage in an online learning class at Broward College. You can complete the Orientation to Online Learning to determine if an online class is a right fit for you and to learn how to navigate the system. Upon completion of the orientation, you will earn a certificate. Some professors require you to submit this certificate during orientation, so make sure to save it in an easily accessible folder on your computer.

Course Attendance and Participation Policy

During the first week of class, you must complete the Syllabus Quiz from the course orientation, or you will be withdrawn for non-attendance. Simply logging into the course will not be enough. As with an on-campus course, students who are reported for non-attendance in an online course and are withdrawn are still responsible for paying for the course. If you do not complete the requirements of the first week of class, you should drop the course by the official drop/add deadline or expect to pay for the course.

It is very important for you to actively participate in this online class by following the recommendations in the Syllabus for pacing your work.

You should remain an active learner in this class and always communicate extenuating circumstances to your instructor. Ongoing communication with the instructor is critical to your course success. Completion of tests, assignments, and other class activities are used as indicators of your participation in order to satisfy this reporting requirement. See the list of activities required for participation and attendance on the General Course Policies page.

Required Course Materials

Book Image

Required Text:

There is no required text.

If you want to consult a readable source, I recommend this one:

Title: THE ART OF WATCHING FILMS This introduction to film appreciation uses contemporary and popular American movies to help students develop critical skills in the analysis and evaluation of film. By suggesting what to look for and how to look for it, this text challenges students to sharpen their powers of observation, establish habits of perceptive watching, and discover complex aspects of film art that will further enhance their enjoyment of watching films.
Author(s): Joe Boggs and Dennis W. Petrie
Publisher, 8th Edition (Any edition will do if you can find a cheaper used edition)
ISBN 13: 0073386170

Optional and Required course materials are described below:

You are required to rent the films assigned during the course if you cannot locate them online or in libraries or on cable channels like Turner Classic Movies. You will watch your choice of 12or more of the 27 films described below but you are not required to watch one one of them or to watch them in any order, so you could pick some films to watch before class begins. For the 6 week term, complete 1 unit per week. Unit 4, with three Parts, is a three week unit and counts as 3 units. Units 1 and 9 each have two parts, each part counting as a unit. The course will open early, if you cannot start early, you should at the least arrange to get some of the films by the time class begins.

Unit 1: One Flew Over the Cuckoo’s Nest (1980) Powerful and funny, this is one of Jack Nicholson’s best roles, with a long list of oddball supporting characters played by little known actors who later became famous and/or Amadeus (1984) A powerful story about the composer Mozart, rich in costumes, location settings, music, and fine acting. You will be surprised that you enjoy it so much. and/or Searching for Bobby Fisher (1993) A fine family film about a family’s obligation to a child genius with an exceptional cast in the supporting roles. and/or The King’s Speech (2010) This entertaining and moving historical drama won four of the top five Oscars: Best Picture, Best Director, Best Actor, and Best Screenplay. It is well worth your time.

Unit 2: Casablanca (1942) Called the greatest movie love story, it is a must see for every film buff. Notice the seamless cuts and unobtrusive camera work, referred to as invisible editing.

Unit 3: Watch any one of these social problem films: The China Syndrome (1979), Norma Rae (1979), Mississippi Burning (1988), In the Heat of the Night (1967), Trainspotting (1996), The Wild One (1954), Guess Who’s Coming to Dinner? (1967), Citizen Ruth (1996), Philadelphia (1993), Rosewood (1997), The Days of Wine and Roses (1962), Judgment at Nuremburg (1961) or The Grapes of Wrath (1940).

Unit 4: Shane (1953) A traditional western with a subtle attraction between the hero and a homesteader’s wife. and/or Once Upon a Time in the West (1968) My favorite western. It is a feast prepared for adults who want to linger and savor the authentic, detailed costumes and sets; the magnificent landscapes of Spain and Monument Valley; the stirring, symphonic music (composed before the script was even written and a single scene was shot); the skilled performances of legendary stars playing against type; the fresh viewing of Western clichés; the long pauses and the extreme close-ups that intensify meaning; the complex story—a mystery and character study involving strange and shifting alliances. It demands that viewers think, remember, and wait patiently for ambiguities and motives to be clarified. High Noon (1953) . The Sixth Sense (1999) If you have not seen it, pay attention. If you have seen it, notice which misdirection was fair (most of it) and which was unfair. This is not a gory thriller but an intellectual puzzle. If you decide to write a paper on it, do not simply repeat information from the special features on the DVD. and/or Invasion of the Body Snatchers (1956) Watch the original, not the 1978 remake or the The Invasion (2007) remake. This classic is required viewing for any sci-fi movie fan. The Graduate (1967) Outdated maybe, but it was made into a play that was revived in 2006, so maybe not. An amazing performance by first time movie actor Dustin Hoffman who appears in almost every scene. Great sound track by Simon and Garfunkle. and/or Bullets over Broadway (1994) Woody Allen wrote and directed, but did not star in this ensemble comedy about rehearsing for a play. It examines the creative process and the value of art. An enjoyable film, well worth the price of a ticket. and/or Shakespeare in Love (1998) You will enjoy this cleverly written and lavish costume comedy/drama that won Best Picture. You do not need more than a slight familiarity with Shakespeare and his plays, but the more you know, the more inside jokes you will understand. Singin’ in the Rain (1952) A delightful musical about the problems when movies went from silent to sound with guaranteed laugh out loud moments. Many students comment about being pleasantly surprised that they enjoyed this film.

Unit 5: Sleepless in Seattle (1993) Two people in love are so boring to everyone around them, so when a movie succeeds in making us care that they get together, we must commend the accomplishment. Much of the credit goes to the soundtrack of standard songs. and/or The Way We Were (1973) A compelling love story improbably pairing Robert Redford and Barbra Streisand. The complexities of the characters make this long relationship especially memorable. Soapdish (1991).

Unit 6: sex, lies, and videotape (1989) Interesting character study, showing what can be achieved in a small budget independent film. And/or Smoke Signals (1998) A road film written and produced by native American Indians about two American Indian youths. An interesting, well-told story.

Unit 7: A second film by any director of an earlier film you watched for this course.

Unit 8: Angels and Insects (1995) Slow moving but fascinating story of the dark, savage, erotic underside of aristocracy. The costumes and symbolism are compelling, the dialogue filled with hidden double meanings. and/or Billy Elliot (2000) Be warned that the language is foul, but otherwise this is a touching culture-clash story of a British coal mining family whose youngest son wants to become a ballet dancer. It was made into a successful stage musical in 2005.

Unit 9: Body Heat (1981) and or Double Indemnity,(1944) except here we get to see in the flesh how a woman can drive a man to . . . . and/or North by Northwest (1959) One of the most sophisticated Hitchcock “wrong man” chase movies. and/or Psycho 1962 or Psycho 1998 (but 1962 is better) If you don’t know the story, watch it without learning anything about it. If you’ve seen this classic, watch it again and notice the clues.

Unit 10: Russian Ark (2002) A tour de force of cinematography. This film may be hard to find but it is unique in filmmaking. and/or The Artist (2011) This surprising silent film won popular success and critical praise as Best Picture at the Academy Awards for 2011.

You may also select from these choices to earn Task points:

Watch one of these films: The Shining (1980), The Maltese Falcon (1941), The Age of Innocence (1993), The Color Purple (1985), They Shoot Horses, Don’t They? (1969), A Raisin in the Sun (1961), Who’s Afraid of Virginia Woolf? (1966), Suddenly, Last Summer (1959), Silkwood (1983), In Cold Blood (1967), A Soldier’s Story (1984), A Streetcar Named Desire (1951) or To Kill a Mockingbird (1962). Name the film and list two parts that seemed more like the original form that the film was adapted from (play or novel etc.) than like a cinematic film.

Watch one of these films: Broadcast News (1987), Best in Show (2000), Dr. Strangelove (1964), Tootsie (1982), Soapdish (1991), MAS*H (1970), Some Like It Hot (1959), Scary Movie (2000), Election, The Opposite of Sex, or Dead Men Don’t Wear Plaid (1982). Name the film and list and EXPLAIN a clear example of irony in it. Submit it under “Tasks” in Assignments. (10 points)

Watch any of these screwball comedies and compile a list of every instance of physical aggression or threatened aggression in the movie. Submit it under “Tasks” in Assignments. (10 points)

My Favorite Wife (1940)

Bringing Up Baby (1938)

What’s Up, Doc? (1972)

The Front Page (1931)

It happened One Night (1934)

Unfaithfully Yours (1948)

Unfaithfully Yours (1984)

The Lady Eve (1941)

Twentieth Century (1934)

Sullivan’s Travels (1941)

Watch one of these films: Fast Times at Ridgemont High (1982), Look Who’s Talking (1989), Clueless (1995), Desperately Seeking Susan (1985), She-Devil (1989), Silkwood (1983), When Harry Met Sally (1989), Heartburn (1986), The Piano (1993), Daughters of the Dust (1991), Lost in Translation (2003), or The Virgin Suicides (1999). Name the movie and list and EXPLAIN with supporting detail two elements that indicate a female rather than a male CREATIVE point of view.

Watch any one of these eight films: Double Indemnity (1944), Fargo(1996), The Postman Always Rings Twice (1946 or 1981), L. A. Confidential (1997), Blood Simple (1984), The Man Who Wasn’t There (2001), Out of the Past (1947), or The Lady from Shanghai (1948). Write one paragraph summarizing the major film noir characteristics in terms of themes, characterizations, setting, mood, and philosophy. Submit it under “Tasks” in Assignments. (12 points).

Watch one of these films:Color of Night (1994), Memento (2000), Unbreakable (2000), The Usual Suspects (1994), Fight Club (1999), Twelve Monkeys (1995), A Beautiful Mind (2001), The Crying Game (1992), Primal Fear (1996), The Game (1997), or Dressed to Kill (1980). Name the film and explain two clues that you thought were especially effective and one clue that you thought was unfairly misleading. It is fine for a film to mislead or misdirect us, but we want the deception to be consistent with other information in the film. Here is an example of unfair misdirection. In The Contender a politician fails to rescue a woman trapped when her car goes off a bridge into a river. We see the woman banging on the window mouthing “Help me.” Later we learn that the woman deliberately drove into the river so that the politician could get publicity by rescuing her. Well if it was a setup, the woman, who had served in the military, would have taken precautions to escape by herself if she needed to. Thus the opening scene cheated. (10 points)

Methods of Instruction

This is a 3-credit hour fully online course without proctored exams. In this class, you will engage in structured out-of-class and online activities. The online activities will include graded discussions, graded tasks, two graded 750 word papers, and graded online quizzes on films that you will watch at home. See the Course Schedule for a detailed description of online activities. Students are responsible for regularly reviewing the Course Schedule and consistently earning points. The Writing Department offers valuable advice and examples about writing papers and reports. Learn it all because it is the least you need to know to make your college writing acceptable.

General Policies and Technical Requirements

You are responsible for being familiar with all BConline policies and procedures related to your activity in this course.

Broward College Policies

Review the Broward College Policies on topics including disability services, academic honesty, privacy, and critical event procedures.

BConline Policies

Review the General Course Policies for topics including rules for netiquette, definition of participation, and other information.

Proctored Exam Policy

This course may have proctored exams that must be taken at a campus e-Testing Center or at an alternate pre-approved testing location. For detailed instructions please visit our Proctored Exam Policy page.

Technical Requirements

Students taking an online course are expected to be moderately proficient in using a computer. Please go to the Technical Requirements page for a complete list of computer skills and technical requirements.

How to Access the Course

Follow these steps in order to log into the BConline course. Normally, the login date will be the first day of the session in which the course is scheduled. Only students who have registered and paid for the course will be permitted to login. There may be a delay of up to 20 minutes from when you register and pay before BConline login is activated.

Your BConline User Name is the same as your BC email ID.

Your BConline password is the same as your BC email PIN code.

If you need login information, obtain BC email user ID and PIN code before attempting to login to BConline.

Links to help you get connected to BConline course(s)

BConline login page

Student e-learning Resources

Password Reset

If your password does not work or you forgot it, click this link to reset it: Student Password Reset.

If you need further support, please contact the BC helpdesk at 954-201-7521 or helpdesk@broward.edu.

Technical Problems

If you need help using BConline (D2L), you can review the step-by-step tutorials

For year-round, 24 hour technical assistance, please visit the 24/7 Help Desk page.

Session3 (accelerated 12 week course)

Course Name: Film as Literature

Term/Session: Winter 2014 session 3

Course Number: ENG2101

Reference Number: 506177

Faculty Introduction
Hi. I love movies made for people who can think and remember. I used to go to the theater about twice a week when I could find movies made for adults about adult concerns with a minimum of these annoyances:

• two angel dust junkies diving toward the camera to escape an orange explosion

• helicopters chasing motorcycles through subway tunnels

• computer-generated oddities who sound like Tom Hanks and Cameron Diaz

• actors contorting in the air while suspended from “invisible” wires

• adolescent adults stooping to wipe dog poop from their toes and being crushed by a cow flung by a tornado

Faculty Contact Information
Instructor Name: David Shaw

Office Phone: 954-201-7900

Campus Phone: 954-201-7900

Fax: 954-201-7937

Email: dshaw@broward.edu

Course Description & General Outcomes
·You will study classic, contemporary, and popular movies to develop critical skills in analyzing and evaluating them. By learning what to look for and how to look for it, you will sharpen your powers of observation, establish habits of perceptive watching, and discover complexities of film art that will deepen your enjoyment of watching films.

·By reading about established film genres and classics, you will be able to see how a contemporary film follows or defies tradition, and you will better understand why some films withstand the test of time while others are dismissed in a year.

·By knowing the elements of plot and narrative, you will learn to appreciate well-constructed plots and you will become more quickly dissatisfied with illogical inconsistencies, strained coincidences and other implausible actions.

·By being familiar with the techniques of establishing character, you will be able to understand why the people ring false or true.

·By studying irony and symbolism, you will notice when these techniques enrich a film by adding subtle meanings to the story or theme.

·By learning about cinematic techniques, you will come to appreciate how creative artists solve the physical problems of filmmaking.

·By studying the advice and examples in the Writing Department, you will practice writing papers with a clear, perceptive thesis and useful topic sentences supported with specific evidence instead of with judgments and vague summaries.

·ENG2101, THE FILM AS LITERATURE Credit Hours: 3. Catalog Description: Focuses on the relationships of two art forms—literature and film—and pays particular attention to how film has evolved as an art form and the ways which literature and its elements have influenced film. Also examines uses of literary techniques and the ways they have been adapted to film. Selected novels, short stories, plays, essays and/or memoirs may also be read as a means of comparing film and literature. A student must earn a grade of ―C‖ or higher to meet the requirements of the Gordon rule. You will watch one film per week.
General Education Requirements – Associate of Arts Degree (AA), meets Area(s): Area 2A
General Education Requirements – Associate in Science Degree (AS), meets Area(s): Area
General Education Requirements – Associate in Applied Science Degree (AAS), meets Area(s): Area

Course Prerequisites
To maximize your chances for success in this course, make sure that you meet the following course prerequisites:

Prerequisite: Eligibility of ENC1101

Co-requisites: none

Orientation to Online Learning

Course Attendance and Participation Policy

During the first week of class, you must complete the Syllabus Quiz from the course orientation, or you will be withdrawn from the course. Simply logging into the course will not satisfy your attendance during this time. As with an on-campus course, students who are reported for non-attendance in an online course and are withdrawn are still responsible for paying for the course. If you do not complete the requirements of the first week of class, you should drop the course by the official drop/add deadline or expect to pay for the course.

During the first week of class, you must earn at least 13 points or you will be reported as a no-show and be withdrawn from the course. Simply logging into the course will not satisfy your attendance during this time. Just as with on-campus courses, students who are reported for non-attendance in an online course and are withdrawn are still responsible for paying for the course. If you do not complete the requirements of the first week of class, you should drop the course by the official drop/add deadline or expect to pay for the course.

It is very important for you to actively participate in this online class. If you stop earning points in discussions, optional tasks assignments, or quizzes or tests prior to the withdrawal date, you will be withdrawn from class and receive a W or, if it is your third attempt, an F.

If you stop participating after the withdrawal date, you will receive an F. To avoid this situation, you should remain an active learner in this class and always communicate extenuating circumstances to your instructor. Ongoing communication with the instructor is critical to your course success. Completion of tests, assignments, and other class activities are used as indicators of your participation in order to satisfy this reporting requirement. See the list of activities required for participation and attendance on the General Course Policies page.

Required Course Materials

Book Image

Required Text:

Books for online courses are available at the Central Campus bookstore
A. Hugh Adams Central Campus Bookstore
Admissions & Student Service Center – Bldg. 19
Tel: (954) 201-6830
Fax: (954) 201-6895

In addition, this course utilizes the following required software or hardware tools:

Optional and Required course materials are described below:

You are required to rent the films assigned during the course if you cannot locate them in libraries or on Turner Classic Movies. You will watch your choice of 15 of the 27 films described below but you are not required to watch them in any order, so you could pick some films to watch before class begins. For this accelerated 12 week term, complete 1.5 units per week. Unit 4, with three Parts, is a three week unit and counts as 3 units. Units 1 and 9 each have two parts, each part counting as a unit. You should at the least arrange to get some of the films by the time class begins. Also, I will open this highly accelerated class at least two weeks early, for students who choose to get a head start on earning points.

Unit 2: Casablanca (1942) Called the greatest movie love story, it is a must see for every film buff. Notice the seamless cuts and unobtrusive camera work, referred to as invisible editing.

Unit 4: Shane (1953) A traditional western with a subtle attraction between the hero and a homesteader’s wife. and/or Once Upon a Time in the West (1968) My favorite western. It is a feast prepared for adults who want to linger and savor the authentic, detailed costumes and sets; the magnificent landscapes of Spain and Monument Valley; the stirring, symphonic music (composed before the script was even written and a single scene was shot); the skilled performances of legendary stars playing against type; the fresh viewing of Western clichés; the long pauses and the extreme close-ups that intensify meaning; the complex story—a mystery and character study involving strange and shifting alliances. It demands that viewers think, remember, and wait patiently for ambiguities and motives to be clarified. The Sixth Sense (1999) If you have not seen it, pay attention. If you have seen it, notice which misdirection was fair (most of it) and which was unfair. This is not a gory thriller but an intellectual puzzle. If you decide to write a paper on it, do not simply repeat information from the special features on the DVD. and/or Invasion of the Body Snatchers (1956) Watch the original, not the 1978 remake or the The Invasion (2007) remake. This classic is required viewing for any sci-fi movie fan. The Graduate (1967) Outdated maybe, but it was made into a play that was revived in 2006, so maybe not. An amazing performance by first time movie actor Dustin Hoffman who appears in almost every scene. Great sound track by Simon and Garfunkle. and/or Bullets over Broadway (1994) Woody Allen wrote and directed, but did not star in this ensemble comedy about rehearsing for a play. It examines the creative process and the value of art. An enjoyable film, well worth the price of a ticket. and/or Shakespeare in Love (1998) You will enjoy this cleverly written and lavish costume comedy/drama that won Best Picture. You do not need more than a slight familiarity with Shakespeare and his plays, but the more you know, the more inside jokes you will understand. Singin’ in the Rain (1952) A delightful musical about the problems when movies went from silent to sound with guaranteed laugh out loud moments. Many students comment about being pleasantly surprised that they enjoyed this film.

Unit 7: A second film by any director of an earlier film you watched for this course.

Unit 9: Body Heat (1981) Compare this to Double Indemnity, except here we get to see in the flesh how a woman can drive a man to . . . . and/or North by Northwest (1959) One of the most sophisticated Hitchcock “wrong man” chase movies. and/or Psycho 1962 or Psycho 1998 (but 1962 is better) If you don’t know the story, watch it without learning anything about it. If you’ve seen this classic, watch it again and notice the clues.

You may also select from these choices to earn Task points:

Watch any one of these films except the ones that are required for this unit: High Noon (1953), Little Big Man (1970), McCabe & Mrs. Miller (1971), My Darling Clementine (1946), Red River (1948), The Searchers (1956), She Wore A Yellow Ribbon (1949), Stagecoach (1939), The Man Who Shot Liberty Valence (1962), True Grit (1969 or 2010) or Unforgiven (1992). Name the Western you watched and write one paragraph explaining with brief supporting detail (DO NOT JUST TELL!) how it follows or rebels against the Western formula as explained in the text. Submit it under “Tasks” in Assignments. (10 points

Watch Maltese Falcon (1941). Write a 200 word essay comparing/contrasting the use of the Casablanca actors Humphrey Bogart, Peter Lorre, and Sidney Greenstreet . (12 points)

Watch again the first 20 minutes of Casablanca paying special attention to every bit of information, both visual and verbal that relates to the character Rick. What do we know about Rick at the end of this short segment? (10 points)
Watch the baptismal sequence in The Godfather and explain how the contrasting elements function together to create a powerful irony. In your discussion consider the role played by all the film elements(visual details, dialogue, music, sound effects, editing, color, and so on. (12 points)
Watch the Summer of ’42. In the first 5 minutes during the opening voice-over, the camera clearly charges an object with symbolic value? Identify the object, its importance, and explain how it relates to the whole film. (10 points)

Watch one of these films: Broadcast News (1987), Best in Show (2000), Dr. Strangelove (1964), Tootsie (1982), Soapdish (1991), MAS*H (1970), Some Like It Hot (1959), any Woodie Allen comedy (except “Bullets Over Broadway”), any Rock Hudson/Doris Day comedy, Scary Movie (2000), Election, The Opposite of Sex, or Dead Men Don’t Wear Plaid (1982). Name the film and list and EXPLAIN a clear example of irony in it. Submit it under “Tasks” in Assignments. (10 points)

Watch any of these screwball comedies and compile a list of every instance of physical aggression or threatened aggression in the movie. Submit it under “Tasks” in Assignments. (10 points)

My Favorite Wife (1940)

Bringing Up Baby (1938)

What’s Up, Doc? (1972)

The Front Page (1931)

It happened One Night (1934)

Unfaithfully Yours (1948)

Unfaithfully Yours (1984)

The Lady Eve (1941)

Twentieth Century (1934)

Sullivan’s Travels (1941)

Methods of Instruction

General Policies and Technical Requirements

You are responsible for being familiar with all BConline policies and procedures related to your activity in this course.

Broward College Policies

Review the Broward College Policies on topics including disability services, academic honesty, privacy, and critical event procedures.

BConline Policies

Review the General Course Policies for topics including rules for netiquette, definition of participation, and other information.

Proctored Exam Policy

Technical Requirements

How to Access the Course

Your BConline User Name is the same as your BC email ID.

Your BConline password is the same as your BC email PIN code.

If you need login information, obtain BC email user ID and PIN code before attempting to login to BConline.

Links to help you get connected to BConline course(s)

BConline login page

Student e-learning Resources

Password Reset

If your password does not work or you forgot it, click this link to reset it: Student Password Reset.

If you need further support, please contact the BC helpdesk at 954-201-7521 or helpdesk@broward.edu.

Technical Problems

If you need help using BConline (D2L), you can review the step-by-step tutorials

For year-round, 24 hour technical assistance, please visit the 24/7 Help Desk page.