Throughout the Film Studies BA, you'll be provided with training and skills development in visual and textual analysis, argumentation, verbal and audio-visual presentation, research and writing. Our teaching encompasses lectures, film screenings, seminar-based discussion and debate, and practical workshops.
I love the communal experience that this brings with it, especially the moments of shared laughter or stunned silence. Cinema, both mainstream and avant garde, was the most exciting art form to emerge in the 20th century, though it was challenged by TV and video. Today cinema exists in an even more complicated media environment, also encompassing the internet, video streaming, and video games.
Our Film Studies BA offers unparalleled critical, historical, and theoretical tools to understand and appreciate the creative potential of cinematic and electronic images and their social, cultural, political, and economic importance in our world. Our Film Studies community is large, dynamic and vibrant. Must include an essay-based subject. Notes: If you are taking linear A Levels in England, you will be required to pass the practical endorsement in all Science subjects.
This is with the exception of private candidates who are unable to take the practical component. We do not consider the EPQ at any point of the assessment process. Must include an essay-based subject at Higher Level. Subject Requirement.
The Film Studies programme is a course in film analysis and review. It is not a course in film production or technology. Course specific subject requirements are indicated in subject requirements above. Please note that nationals of Majority English Speaking Countries as defined by UKVI who have successfully completed high school in the respective country, are not required to complete an English language test. For information on our English requirements and whether you need to complete an English language test, please see our English Language requirements page.
Application deadline: 26th January - GMT. Contextual consideration. We make contextual offers for this programme, which can be found in the entry requirements. As part of the assessment process, we take into account contextual information to gain a more complete picture of each application. More information can be found on the Contextualised admissions website. Applications can be submitted for deferred entry by choosing the appropriate year of entry on the UCAS application. If your circumstances change and, therefore, you need to request a deferral after an offer has been made, then we can generally permit these for this programme.
However, each deferral request will be considered on a case-by-case basis and we reserve the right to decline any post-offer deferral request.
Please note, second deferral requests will only be considered where the request is due to extreme unforeseen extenuating circumstances, for example, health reasons.
Teesside University, Middlesbrough 1 Film Studies degree. CUG ranking: 82nd. Liverpool Hope University 34 Film Studies degrees. CUG ranking: 94th. View all 33 related courses. University of Chichester 1 Film Studies degree. CUG ranking: 36th. University of Chester 1 Film Studies degree. CUG ranking: 54th. University of South Wales 3 Film Studies degrees.
CUG ranking: 66th. Film BA Hons Add to comparison. Although the screenplay is a vital component of a film's success, it tends to be neglected as a separate art form.
In this module we explore the conventions of dramatic structure, new narrative forms and short film variations. Students are encouraged to think critically about screenplay writing and will have an opportunity to write their own screenplay. A selection of writing exercises have been designed to take them through the writing process; from preparation and initial concept to final draft.
The emphasis here will be on practical knowledge and support as students uncover their creative voice. This module does not aim to provide vocational training for students wishing to pursue careers in the feature film or television industries.
Through technical exercises and presentation of film texts, students will engage with key aspects of non-fiction filmmaking. A series of practical projects will be contextualised through lectures drawing on a number of film texts, looking at examples from the history of the non-fiction film e.
The exercises are an opportunity for students to develop their creative practice. Students will develop an understanding of crucial aspects of non-fiction filmmaking -- in terms of both theory and practice -- and deepen their skills in the critical analysis of such texts. Students will build on existing skills of relating theory and practice, by analysing the implications e. The key themes of this module are contextualising the work of students by gaining a historical overview of genre filmmaking, and guiding students towards making a short film within the parameters of a chosen genre s.
From seminars and a series of instruction sessions in camera, sound and editing, students will develop, shoot and edit in groups an original short fiction film idea in a genre chosen from or combining, but not exclusive to, the following: crime, musical, horror, melodrama, western, science fiction, road movie, romantic comedy. This idea will be brought to fruition in a series of seminars designed to develop students' creative potential, alongside screenings of relevant genre films.
Secondly, students will be asked to write an essay in which they analyse a feature film in a chosen genre and relate it to their own project idea. The module studies the emergence and consolidation of the studio system in Hollywood, between the coming of sound in until the collapse of the studios in Indicative topics include the rise of the star system; the emergence of genres; self-regulation and censorship; developments in technology; and changes in audience.
Examination will be made of the development of the 'classic Hollywood cinema' style of film against the backdrop of varying contexts of production, distribution, exhibition and regulation.
A focus on genres such as the gangster film, western and musical in their various phases of development and permutation will be a lens for student understanding of the importance of standardization. Studio development and collapse are also seen in broader historical and political contexts, enabling students to appreciate the forces that motivated film production, distribution and exhibition during the period.
Going abroad as part of your degree is an amazing experience and a chance to develop personally, academically and professionally. You experience a different culture, gain a new academic perspective, establish international contacts and enhance your employability.
All students within the Faculty of Humanities can apply to spend a term or year abroad as part of their degree at one of our partner universities in North America, Asia or Europe. You are expected to adhere to any progression requirements including achieving a merit at Stage 1 and Stage 2 to proceed to the term or year abroad. Places and destination are subject to availability, language and degree programme.
To find out more, please see Go Abroad. The module gives School of Arts students across a range undergraduate programmes the opportunity to undertake a written independent research project at stage 3. Students who wish to take the module must approach a permanent academic member of staff with a proposal, typically in advance of module registration, during the Spring term of the previous year.
Students pick a research topic of their choice; however, students are only allowed to register for the module with the permission of a staff member who has agreed to supervise the project, and who has the expertise to do so. Potential supervisors must also ensure before they agree to supervise a project that the resources required to complete the project will be available to the student, and that adequate supervisory support will be available to the student throughout their study on the module.
Students will be supported in the preparation and submission of their work by their supervisor, although a central expectation of the module is that students will take increasing responsibility for their learning, consistent with expectations of Level 6 study. Students will engage in a work-based situation of their choice.
The student will be responsible for finding the work-based situation, though support from the School and CES will be available. The internship should bear relevance to their subject of study or a career they expect to pursue upon graduation.
This interdisciplinary course will examine historical and current theoretical ideas and research on the ways in which art is created and perceived. Artforms that will be considered include visual arts painting, sculpture, architecture, popular art , performing arts dance and theater , music, and film.
Readings will interface with subdisciplines of psychology such as perception, psychoaesthetics, neurophysiology, social psychology, and studies of emotion. Principal areas of focus will include aesthetics, arts-experimental design, perception of art, meaning in art, the psychology of the creative process, social and cultural issues, and the ramifications of arts-sciences research.
The primary focus will be on Western art forms, though other world art traditions and aesthetics will also be discussed. Assessment methods will test understanding through a summary and critical reflection on a selected text and the proposal, research, and design and oral presentation of a potential interdisciplinary research project.
A significant number of films and television programmes are adapted from other sources, and adaptation frequently arouses powerful responses from viewers and critics.
This course explores this phenomenon, providing the close study of screen adaptations taken from a variety of other media which may include theatre, classic novels, short stories and comics. This course will provide an overview of adaptation studies, by addressing the particular questions that relate to adaptation, considering the connections and differences between distinct media, focusing on key features such as the manipulation of time and space, characterisation, point of view, style, voice, interpretation and evaluation.
Students will be encouraged to consider adaptation within an industrial context and the creative and practical implications of adapting works for the screen. Within the remit of the course, there will be opportunities for students to develop their own creative interests within adaptation studies in conjunction with a deeper understanding of the key theoretical concepts underpinning the discipline. This module explores the contribution made to the study of film, and related artforms such as still photography, music and multimedia, by the cluster of disciplines commonly put under the umbrella of 'cognitive theory.
Since then, research on a wide variety of aspects of human cognition has been undertaken, taking its cue from Chomsky — on emotion, visual and aural perception, metaphor, and narrative understanding, among many other areas.
And since the s, a distinct approach within film studies — cognitive film theory — has emerged, which sets the study of film within this context. The module examines the way in which cognitive film theorists have taken up and developed ideas from the wider tradition of cognitive research, and the debates and controversies that have subsequently arisen between cognitive film theorists and exponents of other approaches to film.
This course introduces students to the history and theory of film criticism, emphasising the coexistence of different approaches to the analysis, evaluation and appreciation of film. The module will also have a practical aspect, offering students the opportunity to write critical pieces on the films screened for the class.
In addition to traditional lectures and seminars, some sessions will be devoted to writing and to analysing fellow students' work. Participants will also be encouraged to reflect critically on different media of film criticism newspapers, magazines, academic journals, the internet, television and on the current state of film criticism.
Students will engage with key aspects of microbudget filmmaking through technical exercises and the presentation of their own films. A series of practical projects will be contextualised through lectures drawing on a number of films, looking at examples from the history of the extremely low budget genres such as horror, crime, independent and experimental films.
The development of a screenplay for the final film project will use theory and critical analysis to develop students' understanding of microbudget filmmaking practice. This module explores the role of editing as a core element of the film-making process, through a combination of creative exercises and close film analysis.
Through hands-on work, students will explore how combining images can fulfil a wide variety of functions including shaping story, guiding point of view, creating emotional affect and aesthetic effects, and generating meaning. This module examines the concepts of stardom and celebrity. Often used as synonyms, the two terms in fact relate to different types of media constructs. The module will consider the history of the rise of stardom within the Hollywood context, exploring how the establishment of 'the star' became an integral part of the industry.
The topic will be illuminated through the analysis of key theoretical texts — many of which laid the foundations for star studies within film, media and cultural studies — as well as via opportunities for students to explore primary sources, such as movie magazines. The module also traces how the stardom industry described above became a component within a larger network of celebrity culture. The module explores this context in conjunction with the apparent decline of the dominance of Hollywood stars, as a variety of mediated identities are promoted, consumed and commodified within diverse media landscapes.
Using scholarship from within the interdisciplinary field of celebrity studies, students analyse how celebrities can take on many forms including actors, TV personalities and influencers, using different media platforms such as film, television, online streaming and social media. View 1 related course View 1 related course. University League Table 8th. View 6 related courses View 6 related courses. University League Table 9th.
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