2018

The programme offers a thorough grounding in postgraduate-level film and is suitable both for graduates in the subject and those new to it.

2018

Overview

The MA Film programme is taught by experts in Film and seeks to engage you with the key elements that make up the diverse nature of film and moving images.

The programme allows you to spend your first term at our Canterbury campus with full access to its excellent academic and recreational facilities, before relocating to our Paris centre for the spring term, studying in the heart of historic Montparnasse.

The Film MA can also be studied in Canterbury only or Paris only.

Think Kent video series

This talk by Dr Maurizio Cinquegrani, Director of Graduate Studies in the School of Arts, focuses on a group of documentaries filmed in Poland and portraying journeys of postmemory to the sites of Jewish life before the war and Jewish destruction during the Holocaust.

About the Department of Film

The Film Department at the University of Kent is known for its excellence in research and teaching. Arts at Kent (including Film) was ranked 1st in the UK for research power in the Research Excellence Framework (REF) 2014. One of the largest European centres for the study of film, it has an established reputation going back 35 years. Approaching film as a dynamic part of our cultural experience, we encourage thinking about film as it emerges at the intersections of art, document and entertainment. Through theory and practice, individual research, student-led seminars and visiting speakers, we promote an environment in which postgraduate students are able to engage with the continuing vibrancy of cinema.

Studying film as a postgraduate at the University of Kent will give you the opportunity to experience our rich resources of academic expertise, library facilities and a campusbased film culture. We currently offer expertise in North American, European and Latin American cinemas. Our research and teaching will engage you in a dialogue with aesthetic, conceptual and historical perspectives, as well as with digital media and practice by research.

In 2014, the University opened a new 62-seat cinema named after the pioneering female film director Ida Lupino, which students can enjoy as part of their experience during their studies. The Lupino has state-of-the-art digital projection and sound, and has been created to provide an intimate atmosphere for film viewing.

Studying film as a postgraduate at the University of Kent in Paris will give you the opportunity to experience our rich resources of academic expertise, library facilities and a campus-based film culture. Our research and teaching will engage you in a dialogue with aesthetic, conceptual and historical perspectives.

National ratings

In the Research Excellence Framework (REF) 2014, Arts at Kent was ranked 1st for research power and in the top 20 in the UK for research quality.

An impressive 98% of our research was judged to be of international quality. The School’s environment was judged to be conducive to supporting the development of world-leading research.

Course structure

The programme consists of research training, two compulsory 30-credit modules and two 30-credit subject options, plus a dissertation.

You spend the autumn and spring terms viewing and discussing films in modules that are designed to address a range of practical and theoretical issues, including authorship, genre, stardom, style, modernity, nationalism and internationalism. Seminars will also cover debates in philosophy and film theory on the nature of filmic representation and its relationship to language, art, emotion, and consciousness.

The spring term in Paris will allow you to focus more on French cinema and its context, and to consider the impact of French critics and filmmakers on the wider discipline of Film Studies. In the summer term you will complete your one-year MA by writing a dissertation of up to 15,000 words on a topic agreed with tutors.

Modules

During the first term, you take two 30-credit taught-course modules from your chosen MA pathway. You then spend the second term in Paris, studying two modules from a choice which varies from year to year.

This means that during the spring term you are free to construct your own programme from across the range of modules available (see Paris Module Collection), making it as focussed or as inter-disciplinary as you like. You have plenty of time during the autumn term to make informed decisions about your programme of studies in Paris.

All the spring-term modules have been designed to be specifically relevant to your experience of living and studying in Paris.You are encouraged to make full use of the city’s cultural resources and to integrate these into your studies which means you will be able to explore and discover connections between history, literature, the visual arts and other media.

The following modules are indicative of those offered on this programme. This list is based on the current curriculum and may change year to year in response to new curriculum developments and innovation. 

Modules available on this programme may include:

Modules may include Credits

This course examines the medium of film, considering its specific qualities as an art form and the particular ways in which it engages its audience. The emphasis of the course varies from year to year, responding to current research and scholarship, but it maintains as its focus the aesthetic strategies of film in contrast with other arts, film's relationship with reality, the interdisciplinary reach of Film Studies, the particular kinds of engagement into which cinema invites its audience and/or French film theory. Students studying at the Paris campus will benefit from having access to relevant institutions in Paris, such as the Cinémathèque Française, the Bibliothèque Nationale, the American Library in Paris and the Paris Diderot library. The course explores both the historical trajectory of the theory of film as well as how these conceptual frameworks inform contemporary scholarship.

Read more
30

This course examines film history and historiography through case studies. In carrying out this investigation students will be encouraged to work with archive and primary sources held in libraries, museums and archives. For students studying at the Paris campus this would include, for example the Cinémathèque Française, the Bibliothèque Nationale, the American Library in Paris and the Paris Diderot library. This will help them to evaluate and contest received histories, which may be based on aesthetic, technological, economic, and/or social formations. Through this investigation students will be better able to understand the role and value of the contextual study of film, while having the opportunity to research and write on an aspect of film history. The choice of case study will depend upon the expertise of the module convenor but will typically be from French film history.

Read more
30

This course examines the medium of film, considering its specific qualities as an art-form and the particular ways in which it is influenced by and influences other artistic and cultural forms in the historical moment of early 20th century Paris. The emphasis of the course varies from year to year, responding to current research and scholarship, but it maintains as its focus the aesthetic strategies of film in contrast with other arts, film's relationship to historical change, particularly as it is developed in the growth of Paris as a city. The course also addresses the particular strategies used by the cinema to communicate with its historical audience. The course explores both the historical place of the cinema within the development of twentieth-century urban culture in Paris as well as how this historical definition informs the development of the cinema.

Read more
30

This module is designed to examine the overlapping influence of Early Modern and Enlightenment thinkers and writers mainly based in England, France and Germany. A particular focus is provided by the Parisian setting: several key figures (such as Voltaire, Rousseau and Diderot) lived in Paris for a significant part of their lives, and Paris was a city second to none in its importance within a vast international exchange of ideas during the Enlightenment period. The module will encourage students to consider the historical contexts out of which the various texts emerge, and show how ideas passed between England, France, Germany and elsewhere. Attention will consistently be paid to the tension between Enlightenment and Counter-Enlightenment in Europe. This will include allowing the students to understand debates, in the eighteenth century (and, if appropriate, since then), around the following issues: empiricism; sensationism; toleration; freedom of speech; aesthetics; literary genres; the 'pre-Romantic'.

Read more
30

The curriculum includes a selection of texts from various countries, all readily available in English and all specifically relevant to the modern history, evolving population and changing appearance of Paris and to how these aspects of the city has been perceived and represented in literary prose. The set texts are by writers from different periods and of various nationalities and they are all set in and inspired by Paris. The texts are chosen for their high literary quality, but also because they represent essential aspects of the city’s evolution and exemplify various narrative strategies and ways of engaging with the realities of life in the city, always shaped by personal preoccupations and sensibilities. This varied selection within the genre of prose fiction allows study of Zola’s naturalism and his presentation of the political and aesthetic implications of baron Haussman’s plans for urban renewal and control; Edith Wharton’s perspective as an American incomer; André Breton’s combination of oneiric urban encounters with photographic illustrations of the city, inserted into the text; Jean Rhys’s clearly gendered experience of the city in the 1920s and 1930s; the identity of the city as a site for postwar liberation and literary dynamism in the work of expatriates from the Beat generation; and the representation of today’s city as a centre for immigrant communities and cultural diversity. The primary texts are thus all Paris-focussed but are chosen to open an international perspective on the literary representation of an increasingly cosmopolitan city.

Read more
30

The module will focus on Paris as a centre of artistic experimentation. The city served as the launch pad for key artistic movements from the mid-19th century through to the period after the Second World War (Impressionism, Cubism, Surrealism, etc.), and as a magnet for budding and established artists from all around the world. The module will take advantage of the great museum collections that encapsulate such developments (Musées d'Arte Moderne and d’Orsay, Rodin and Picasso Museums, Beaubourg, Quai Branly, etc.) and also of the major exhibitions on show in Paris in any given year.

Read more
30

This module, to be taught at the Paris School of Arts and Culture, looks at Paris' revolutionary and resistance past. We cover a two-hundred-year period, beginning with the revolution of 1789 and ending with the student protests of May 1968. We will explore Paris during the two world wars, the Commune of 1871, the 1848 revolution and advances in medicine, science, painting and literature.

The aim of this module is to examine the ways in which Parisian culture, which has long been at the centre of innovation in the fields of architecture, film, literature, art, philosophy and drama, has been transformative. The module is interdisciplinary and will include the analysis of memoirs, oral histories, memorials, instruments, paintings, literary texts, cartoons, posters, film, newspapers, radio and the internet.

Read more
30

From the French Revolution to the European Union, the term 'Europe' has long been a placeholder for a large number of utopian, internationalist aspirations. These aspirations are necessarily culturally and politically contingent; to trace the history of cultural constructions of Europe is to hold a mirror up to its changing intellectual faces. Focusing on a series of influential texts published at significant moments in the recent history of the continent, this module investigates how the changing ‘idea of Europe’ reflects the changing priorities of cultural discourse. In particular, it considers the key role – but also contested – played by Paris in particular as a European cultural capital, central to the idea of Europe and to the development of European culture. The texts studied on this module range across disciplines and genres, and include poems and pamphlets, essays and lectures, philosophy and politics. Through studying these texts in their socio-political contexts, the idea of Europe is triangulated through reference to a number of key categories (e.g. ‘prophecy’; ‘crisis’; ‘utopia’; Europe as ‘conservative’; Europe as ‘progressive’). The overall aim of this module is to explore what it means to be – in Friedrich Nietzsche’s words – a ‘good European’, and to consider the central role played by Paris in the emergence of modern European culture.

Read more
30

In recent decades European intellectual culture has seen a turn towards the post-secular, the post-critical, the “return” of religion, or, as Claude Lefort described it “the permanency of the theologico-political”. Such gestures invite a rethinking of the political, social, and intellectual role of “religion” in the recent history of European thought. Such reworking intimately affects the understanding of Europe within a scene of global political and economic development, European traditions of philosophy, concepts of political autonomy; its critical theories of culture and economy, links between the idea of Europe and democratic political foundations; and the nature of artistic, social, and psychological exploration. This course creates capacities to interact with and to intervene in these important and on-going cultural discussions by developing new maps of “religion” as a central preoccupation in the formation of European intellectual identity, with a strong focus on Paris and the history of religion in “French theory” (e.g the works of Badiou, Benslama, Derrida and Foucault).

Read more
30

This module explores the idea of the city, and the major concepts related to urban life. It analyses and determines the conditions of their emergence within a broader cultural context. It traces how these concepts have changed through time, with the aim of enhancing our present understanding of cities and their regeneration. It follows the development of city planning and the establishment of planned, ideal cities as a political goal up to the foundation of new towns. In its dealing with historically modern cities, the module centres on case studies of cities representative of urbanism from the eighteenth to the twenty-first centuries, drawing lessons from the methods and types of documentation used in its development. The course also introduces the manner in which architecture has generated a number of spontaneous and critical responses to the demands of the city in the past four decades. The arguments are drawn from sources in architectural and urban theory, philosophy, art history, anthropology, literary sources and social sciences.

Read more
30

In this module you will learn further techniques of writing fiction, including how to plot a full-length novel, work on deep characterisation and the construction of an intellectual framework within your fiction. You may be continuing to work on a project begun in Fiction 1, or starting something new. Rather than expecting you to try new techniques, voices and styles, your tutor will work with you to identify your strongest mode of writing and will encourage you to develop this.

Your tutor will supply you with a reading list before the start of the module.

Read more
30

The main focus of Poetry 2 is to further develop and refine your writing with the eventual aim of producing a successful dissertation portfolio of fully realised, finished poems. Poetry 2 differs from Poetry 1 in that you are encouraged to develop a sequence or series of wholly new poems.

In this module you will develop your practice of writing poetry through both the study of a range of contemporary examples and constructive feedback on your own work. Each week, you will be exposed to a wide range of exemplary, contemporary sequences. The approach to the exemplary texts will be technical rather than historical; at every point priority is given to your own particular development as poets.

The reading list does not represent a curriculum as such, but indicates the range of works and traditions we will draw upon to stimulate new thought about your own work. Decisions about reading will be taken in response to individual interests. Likewise, you will be directed toward work which will be of particular benefit to you.

The main focus of Poetry 2 is to further develop and refine your writing with the eventual aim of producing a successful dissertation portfolio of fully realised, finished poems. Poetry 2 differs from Poetry 1 in that you are encouraged to develop a sequence or series of wholly new poems.

In this module you will develop your practice of writing poetry through both the study of a range of contemporary examples and constructive feedback on your own work. Each week, you will be exposed to a wide range of exemplary, contemporary sequences. The approach to the exemplary texts will be technical rather than historical; at every point priority is given to your own particular development as poets.

The reading list does not represent a curriculum as such, but indicates the range of works and traditions we will draw upon to stimulate new thought about your own work. Decisions about reading will be taken in response to individual interests. Likewise, you will be directed toward work which will be of particular benefit to you.

Read more
30

‘Paris: The Residency’ contributes to the poetry and prose strands of the MA in Creative Writing and the Literature strand of the Paris Programmes. The objective of ‘Paris: The Residency’ is to give students as close an experience as possible of what it might be like to be a writer in residence or retreat, and to produce work inspired by a specific location for a specific period of time. The emphasis will be on producing a body of creative work for the main assessment. This module aims to enable students to develop their practice of writing through both the study of a range of contemporary examples and practices, and constructive feedback on their own work. Throughout their stay, students will be exposed to a wide range of instances of exemplary, contemporary work relating to Paris, or which was written by writers whilst staying, or living in Paris (as suggested by the indicative reading list). They will be encouraged to read as independent writers, to apply appropriate writing techniques to their own practice and to experiment with voice, form and content. The approach to the exemplary texts will be technical as well as historical. At every point in the module, priority will be given to students’ own development as writers. It is an assumption of the module that students will already have a basic competence in the writing of poetry or prose, including a grasp of essential craft and techniques. The purpose of this module will be to stimulate students towards further development of, and to hone their already emerging voices and styles through engaging with various literary texts, raising an awareness of place as the starting point for new writing, and how their work can develop with large chunks of time for independent study, reflection and exploration of a city like Paris.

Read more
30

‘Modernism and Paris’ provides students with an opportunity to study a selection of texts from the UK, USA and mainland Europe, all readily available in English and specifically relevant to both Paris and modernism. The texts are all either inspired by Paris, or are set in, or refer significantly to the city and most were written in Paris. They are chosen for their high literary quality and because they seek new and experimental literary expressions for the experience of modern city life. They also allow exploration of a range of literary forms, including the novel, poetry, prose poems and essays. The module alternates texts by major authors of different nationalities, chronologically ordered, allowing students to appreciate the beginnings and development of modernism in the 19th and 20th centuries. The module recognises the importance of modernist cross-fertilisation between literature and the visual arts and encourages students to explore links between modernist literature and the development of, for example, cubism and surrealism. The primary materials are Paris-focused but are chosen to open an international perspective on literary and cultural contacts and history.

The module is taught mainly through a weekly two-hour seminar. Students are also encouraged to incorporate into their studies their exploration of the city and their use of relevant local resources such as exhibitions, museums and libraries.

Read more
30

The ubiquity of the term diaspora in recent critical debates has been interpreted as the symptom of a shift in perspective in cultural and social studies. This is reflected in the growing significance of diaspora studies which, to some extent, has superseded postcolonial studies as a theoretical framework in explaining those global phenomena in society, culture and literature which are informed by conceptions of the nation state but cannot sufficiently be explained by them. At the same time, tendencies of universalising conceptions of diaspora as they have recently proliferated and the increasingly simplifying and historically undifferentiated usage of the term need to be reconsidered.

Among the various paradigms from which diasporic writing should be distinguished is the literature of exile. Exile is often the consequence of political pressure or disaffection with a society rather than the result of the larger and often spatially and chronologically extended migratory movements which led to the emergence of diasporic communities. While both paradigms may intersect, the concerns and motivations of diasporic and exilic literatures usually differ.

A historically and culturally significant geographical, and frequently also imaginary, point of intersection between the diasporic and the exilic paradigms is the metropolis of Paris. In this module, our comparative focus will be on diasporic and exilic literatures and on the significance of the diasporic or exilic space of the French metropolis, both as production context and as informing literary production.

Arguably, the most famous group of exiles to choose Paris as their temporary home was the generation of American expatriate writers in the 1920s for whom, as J. Gerald Kennedy suggests, Paris 'inescapably reflect[ed] the creation of an exilic self' – Gertrude Stein, Ernest Hemingway, Henry Miller, F. Scott Fitzgerald and Djuna Barnes or, after the Second World War, Richard Wright, James Baldwin and Alexander Trocchi or Boris Vian. Other writers of note who, in different times and under different conditions, chose exile in Paris include Heinrich Heine, Oscar Wilde, Rainer Maria Rilke, Samuel Beckett, Heinrich Mann or Anna Seghers, Miguel Ángel Asturias, Czeslaw Milosz, Milan Kundera, Jorge Semprún and Marjane Satrapi or Julio Cortázar, Severo Sarduy, Vargas Llosa, Alfredo Bryce Echenique, Laura Alcoba, Assia Djebar, Nancy Houston and Leila Sebbar. Incorporating aesthetic dimensions, our seminars will explore in particular the extent to which experiences of diaspora and exile inform the work of ‘alien’ writers residing in Paris.

Read more
30

The dissertation is your opportunity to really explore the aspects of Film Studies that interest you most. You are encouraged to read as widely as you can. Exploit the Templeman library resources, and all the on-line facilities available to you through the library portals. Of course, watch relevant films too. The more research you do, the richer your experience.

You can begin your independent dissertation research at any point and t is good idea to do have done some groundwork before you meet your supervisor.

The main period for supervision is in the summer term, when you can expect to meet with your supervisor to discuss the progress of your reading and writing. You can expect up to four supervisory meetings, reasonably spread across the term.

You should also arrange to meet your supervisor once in the Spring term in order to discuss the focus of your project, and also the kind of research you could begin to undertake in the Spring and Summer terms.

The summer vacation period is a period of independent research, and supervision is not available.

Your supervisor may agree to give you email feedback on a section of your draft during the summer vacation period, but you will need to arrange that with them well in advance.

Read more
60

Teaching and Assessment

Assessment is by coursework and the dissertation.

Programme aims

The programme aims to:

  • develop your understanding and skills to a notably higher level of sophistication and achievement (appropriate to an Master’s level award) than would be expected at degree level, such that you leave the programme with a substantial analytic and critical understanding of film and film studies
  • develop your understanding and skills to the level necessary for entry into a research programme in film
  • develop your ability to think independently, argue with clarity and force, to discern areas of research interest within the field and be able to frame viable research questions
  • allow you to spend your first term in Canterbury, studying modules in film, and to spend your second term in Paris developing your interest in cinema within the context of city often seen to be central to the aesthetic developments of filmmaking and critical approaches central to the history of the discipline
  • consider the impact of French critics and filmmakers on the wider discipline of film
  • provoke reflection on areas of critical and theoretical approaches to French cinema and its context
  • nurture the intellectual skills cited above in the context of written work (essays and dissertations) as well as in the context of interpersonal interaction (seminars, research papers, supervision)
  • provide access to enhanced intercultural awareness and understanding through the opportunity to study in Paris
  • provide opportunities for the development of personal, communication and research skills and other key skills appropriate for graduate employment both in industry and in the public sector.

Learning outcomes

Knowledge and understanding

You gain knowledge and understanding of:

  • the interpretation and evaluation of film
  • concepts and practices integral to the production and reception of films, including authorship, genre, stardom, style, modernity, nationalism and internationalism, with an emphasis on the French context
  • processes and conceptualisations of pleasure and identification in film
  • debates in film theory, and in philosophy, pertaining to the nature of filmic representation, and its relationship with language, art, emotion, and consciousness
  • Modernism as an international movement in literature and art and the role of Paris as a site of modernist experimentation
  • the cultural history of modern Paris, as reflected in art and literature.

Intellectual skills

You develop intellectual skills in:

  • the ability to construct arguments and adduce appropriate evidence at a level appropriate for original research
  • questionning assumptions generally taken for granted at degree level
  • designing and implementing research projects informed by classical humanities approaches, including philosophy, literary theory, and history, with a particular emphasis
  • grasping how methods drawn from the social and natural sciences (such as economics and psychology) might inflect or inform research projects within the humanities.

Subject-specific skills

You gain subject-specific skills in:

  • analysing, with precision, the images and sounds which comprise films
  • analysing narrative and other forms and structures shaping films
  • drawing on intellectual knowledge, methods and techniques drawn from other disciplines (such as psychoanalysis, philosophy, and literary theory) in the study of film
  • mastery of the vocabularies developed to enhance the analysis and understanding of film and related media
  • articulating, in written and oral contexts, an understanding of film commensurate with the first four programme aims noted above
  • developing a comprehensive knowledge of the cultural development of modern Paris, as expressed in literature and art.

Transferable skills

You will gain the following transferable skills:

  • the ability to communicate effectively in both oral and written contexts, at a level appropriate for the conduct of original research
  • the ability to create, manage and self-direct essays and research projects, with the advice and supervision of teaching staff
  • the ability to integrate skills of argument and reasoning with those of empirical observation
  • the ability to contribute effectively to the exploration of a question or problem in the context of group discussion and analysis, through a combination of intervention, leading of discussion, and focussed attention to others
  • the ability to deploy the subject-specific understanding of the nature of film and related media – in relation to, for example, social and ethical questions – in the context of participation in society as workers and citizens
  • the ability to use various IT skills, ranging from word-processing and audio-visual presentation to research through web-based sources, at a level of sophistication commensurate with the production of original research
  • Living and working in diverse cultural environments: you will participate and work in academic communities in both Canterbury and Paris. You will thus develop cultural knowledge and understanding, flexibility, imagination, resourcefulness and tolerance.

Careers

Arts graduates have gone on to work in a range of professions, from museum positions and teaching roles to film journalists and theatre technicians. Our graduates have found work at Universal Pictures, the London Film Festival and other arts, culture and heritage-related organisations, as well as in film production, as editorial assistants and as web designers.

Study support

Postgraduate resources

Film at Kent has excellent viewing and library facilities, with a large number of films screened weekly during term-time in the custom-designed Lupino Cinema. The Templeman Library has extensive book and specialist journal holdings in film and related areas; there is also a large and growing reference collection of film on DVD and Blu Ray, with individual and group viewing facilities. The Department also benefits from the presence of the Gulbenkian Cinema on campus, which runs a programme of new releases and classics.

In 2010, we moved into the purpose-built, and RIBA award-winning, Jarman Building. The new building is home to a range of professional standard editing and studio facilities, plus a dedicated postgraduate centre and teaching and social spaces.

In Paris, you are encouraged to make full use of the city's cultural resources and to integrate that experience into your studies. The Louvre, Centre Pompidou, Musée d’Orsay, Musée d’Arte Moderne, Grand Palais and other world-class museums and exhibition spaces are on your doorstep.

You have access to screenings of modern and classic films and to the research facilities at the National Cinémathèque and Museum of Cinema and at the Forum des Images, an extensive videothèque and film library in the centre of the city. You also have access to the libraries of University of Paris III (Sorbonne Nouvelle), which has the largest Film department in France.

In addition, you benefit from borrowing rights at the libraries of the University of Paris VII, which have viewing facilities and holdings of films, books and periodicals in English. Other Paris libraries with extensive relevant holdings include the French National Library, the Centre Georges Pompidou Public Library and the American Library in Paris, to which you are given access and a guided visit.

Internationally recognised research

Our staff produce internationally recognised research at the intersection of film theory, history, practice, and the conceptual and stylistic analysis of moving image media. Based on this expertise, we are able to support research across a wide range of topics, including: moving image theory, history and criticism; American, European and Latin American cinemas; British Cinema; the avantgarde; and digital media and animation. There are also close connections between Film and the Aesthetics Research Group.

The Centre for the Interdisciplinary Study of Film and the Moving Image promotes our excellence in research and hosts a range of research events including symposia, visiting speakers and workshops.


Film-making

The Department embraces filmmaking and practice-based research in film and media. Clio Barnard’s film The Arbor was nominated for a BAFTA and Clio received the best newcomer and original debut feature at the London Film Festival and best new documentary film-maker at the Tribeca Film Festival. Her most recent work, The Selfish Giant, was chosen as one of only two films to represent the UK in the Directors’ Fortnight line-up at the 2013 Cannes Film Festival. Richard Misek is a leading video essayist. His feature-length documentary Rohmer in Paris (2013) has been screened at over twenty film festivals on five continents, and exhibited at venues including the British Film Institute, The Barbican Centre, the National Gallery of Art (Washington D.C.), the Museum of Moving Image (New York), Forum des Images (Paris), and the Louisiana Museum (Denmark). He has been Primary Investigator on two Arts and Humanities Research Council projects exploring audiovisual film and media studies (2016-18), and has recently produced a series of virtual reality video essays in collaboration with world-leading Melbourne-based VR studio Vrtov and the British Film Institute. Lawrence Jackson worked in various crew capacities in the UK film industry for three years before working in-house, then freelance as a Bi-Media Producer for BBC Northern Ireland Drama. As writer-director, he has five short films and as producer-director, around 50 hours of radio drama to his name. The shorts, shot in locations from Margate to Northern Ireland and Prague to Newcastle, have been shown at the Munich Film Festival, London’s ICA Cinema and on BBC2.

Dynamic publishing culture

Staff publish regularly and widely in journals, conference proceedings and books. They have recently contributed to journals including: Screen; Cinema Journal; October, The Moving Image; Animation; Games and Culture; Journal of Film and Video; Film History, Film Criticism and Early Popular Visual Culture. The have recently publishing books with Oxford University Press, University of Amsterdam Press, Rutgers University Press, Palgrave Macmillan, Columbia University Press, University of Minnestoa Press, I.B. Tauris, Wiley-Blackwell and Cineteca di Bologna. The peer-reviewed journal Film Studies is edited by staff at the department.

Global Skills Award

All students registered for a taught Master's programme are eligible to apply for a place on our Global Skills Award Programme. The programme is designed to broaden your understanding of global issues and current affairs as well as to develop personal skills which will enhance your employability.  

Entry requirements

An upper second-class honours degree or better, usually in a relevant humanities subject. In certain circumstances, the School will consider candidates who have not followed a conventional education path or who may have relevant experience in the industry. These cases are assessed individually by the Director of Graduate Studies.

All applicants are considered on an individual basis and additional qualifications, and professional qualifications and experience will also be taken into account when considering applications. 

International students

Please see our International Student website for entry requirements by country and other relevant information for your country. 

English language entry requirements

The University requires all non-native speakers of English to reach a minimum standard of proficiency in written and spoken English before beginning a postgraduate degree. Certain subjects require a higher level.

For detailed information see our English language requirements web pages. 

Need help with English?

Please note that if you are required to meet an English language condition, we offer a number of pre-sessional courses in English for Academic Purposes through Kent International Pathways.

Research areas

Research in both theory and practice is currently centred in five broad areas:

  • national cinemas – form and history: North American, European, Latin American
  • the moving image in a digital context
  • documentary film
  • film aesthetics
  • avant-garde and experimental cinema.

Centre for Film and Media Research

The Centre draws together scholars from across the University who use film and the moving image as an integral part of their research. We are open to ideas that extend the reach of the Centre and seek to support projects that promote collaboration between individuals and other research centres. Our aim is to produce a more proactive engagement with other disciplines, to open new lines of communication and to produce innovative knowledge formations through the activity of pioneering research projects.

Other Research Centres within the School:

European Theatre

Based at Kent, the UK’s European university, the European Theatre Research Network (ETRN) facilitates and fosters the exchange of theatre traditions, contemporary practices and academic discussion on theatre work from the European continent and also in the new European states. The MA Theatre Direction forms part of this expanding network, drawing for instance on our connection to the Schaubühne Berlin, the Grotowski Workcentre, and other European theatre institutions. For further information, please see www.europeantheatre.org.uk

Cognition, Kinesthetics and Performance

The Centre for Cognition, Kinesthetics and Performance brings together Drama staff and staff in Engineering and Digital Arts; Psychology; Anthropology; and the Tizard Centre to explore the possibilities of interdisciplinary dialogue and collaboration between researchers and practitioners in the fields of cognitive neuroscience, interactive performance, digital media, disability studies, and applied performance. For further information, please see www.kent.ac.uk/ckp

Popular and Comic Performance

The Popular and Comic Performance research centre brings together academics from a range of disciplines (e.g. Drama, Film, Social Anthropology, Philosophy). Their research investigates a real variety of related areas including: stand-up comedy; music hall and variety; 18th century popular theatre; melodrama; Greek Old and Middle comedy; community performance work; puppetry; TV and film production; and punk performance.

Aesthetics Research Centre

The Aesthetics Research Centre coordinates, enables and promotes research in philosophy of art and aesthetics at the University of Kent.

Art History and Visual Cultures

This Research Centre promotes and co-ordinates research amongst the growing community of staff and PG students active at Kent in the field of Art History. 

Staff research interests

Full details of staff research interests can be found on the School's website.

Clio Barnard: Reader

The relationship between documentary and fiction, in particular the subjectivity of recollection.

View Profile

Dr Margrethe Bruun Vaage: Lecturer in Film

Spectator's engagement with fictional films and television series, and more specifically the imagination, the emotions and the moral psychology of fiction.

View Profile

Dr Lavinia Brydon: Lecturer in Film

Issues of space and place within film culture, notions of mobility, questions of identity, auteurship and the concept of national cinemas.

View Profile

Dr Maurizio Cinquegrani: Senior Lecturer

British cinema; non-fiction films; early cinema; the intersection between cinema and urban culture, in particular London in film; cinema and architecture; amateur film-making; Swedish cinema; Italian cinema.

View Profile

Dr Mattias Frey: Reader

European cinema (with particular emphasis on German and Austrian film); historiography; matters of media reception and consumption; the history of ‘classical’ and contemporary film theory; movie criticism and cinephilia.

View Profile

Dr Frances Guerin: Senior Lecturer

Silent cinema; pre-cinema; German cinema, film and history; documentary film and its intersection with history, cinema and the other arts; modernity and cinema.

View Profile

Lawrence Jackson: Lecturer

Genre storytelling, with particular focus on ghost stories, thrillers and westerns; the work of new British film-makers Andrea Arnold, Shane Meadows, Ben Wheatley and Paddy Considine.

View Profile

Dr Tamar Jeffers McDonald: Reader

Genres, including romantic comedy, melodrama and the gothic; stardom; film costume; strategies and representation of sex and virginity; performance. 

View Profile

Dr Cecilia Sayad: Senior Lecturer

Film authorship; theories of national and transnational cinemas; Third Cinemas; narratology; self-reflexivity; realism; the French New Wave; Latin American cinema (especially Brazilian); post-war American cinema; the modern American horror film.

View Profile

Professor Murray Smith: Professor of Film

Philosophy, film and film theory; cognitive theory, evolutionary theory and film; sound and music in film; avant-garde and experimental film/video; contemporary independent American cinema.

View Profile

Professor Peter Stanfield: Professor of Film; Head of School of Arts

The cultural history of American film, with a twin focus on cycles of formulaic movies and the synergy between cinema and other forms of popular culture, including music, comic book and sequential art, pulp novels and material culture.

View Profile

Professor Aylish Wood: Professor of Film

The impact of digital technologies on moving images in animation, film and digital games and mixed-media gallery installations; creativity and technology.

View Profile

Dr Richard Misek: Lecturer in Digital Media

Screen technologies and aesthetics; postproduction; remix cinema; digital spacetime; urban space; video art.

View Profile

Fees

The 2018/19 annual tuition fees for this programme are:

Film Studies - MA at Canterbury and Paris:
UK/EU Overseas
Full-time £8250 £15200

For students continuing on this programme fees will increase year on year by no more than RPI + 3% in each academic year of study except where regulated.* If you are uncertain about your fee status please contact information@kent.ac.uk

General additional costs

Find out more about accommodation and living costs, plus general additional costs that you may pay when studying at Kent.

Funding

Search our scholarships finder for possible funding opportunities. You may find it helpful to look at both: