The programme offers a thorough grounding in postgraduate-level film and is suitable both for graduates in the subject and those new to it. You spend a term studying at our Paris School of Arts and Culture, allowing you to immerse yourself in French film culture.
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.
A cross-cultural, interdisciplinary programme, you spend your first term at our Canterbury campus with full access to its excellent academic and recreational facilities. In the spring term, you relocate to the Paris School of Arts and Culture where you study at the Columbia Global Center (known as Reid Hall) in a historic corner of Montparnasse.
The Film MA can also be studied in Canterbury only or Paris only.
The Paris School of Arts and Culture is a specialist, postgraduate centre located in the heart of Paris. We offer interdisciplinary, flexible programmes, taught in English, which take full advantage of all the cultural resources Paris offers. Study trips to the city’s museums, art exhibitions, archives, cinemas and architectural riches are an integral part of your studies.
The interdisciplinary nature of the School means you can choose modules from outside your subject area, broadening your view of your subject. As part of our international community of students and staff, you can take part in regular seminars and talks, write for the student-run literary magazine or help to organise our annual student conference.
The Film Department at the University of Kent is known for its excellence in research and teaching. Arts at Kent (including Film) was the only submission in the UK to achieve 100% ‘world leading’ assessments for both its impact and research environment in the Research Excellence Framework (REF) 2021. 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.
A first or second class honours degree in a relevant subject (or equivalent)
All applicants are considered on an individual basis and additional qualifications, professional qualifications and relevant experience may also be taken into account when considering applications.
Please see our International Student website for entry requirements by country and other relevant information. Due to visa restrictions, students who require a student visa to study cannot study part-time unless undertaking a distance or blended-learning programme with no on-campus provision.
This course requires a Good level of English language, equivalent to B2 on CEFR.
Details on how to meet this requirement can be found on our English Language requirements webpage.
Examples:
IELTS 6.0 with a minimum of 5.5 in each component
PTE Academic 63 with a minimum of 59 in each sub-test
A degree from a UK university
A degree from a Majority English Speaking Country
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.
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:
Film Studies, a relatively young academic discipline, traces its origins to both the humanities and social sciences. Although some of contemporary Film Studies derives from the literary traditions of genre, thematic or textual analysis, major swathes of the field are now delving into wider and often interdisciplinary investigations of aesthetic, technological, economic and/or social formations of cinema, film and wider media culture. This module acquaints students with a variety of sources, methods and methodologies currently used in film scholarship and how to talk about them in rigorous ways. It empowers students to read and understand how researchers in the discipline strategically use sources and methods to answer research questions and advance knowledge, and to be able to apply these insights in their own research and enquiry. In carrying out this investigation students will be encouraged to work with archives and primary sources, and to critically evaluate received histories by interrogating methodological procedures and assumptions. Students will apply their acquisition of knowledge, for example, by compiling annotated bibliographies, annotated portfolios of sources, short writing exercises and then writing an essay on an aspect of film history that includes a reflection on the sources and methods used. The choice of time period(s) and case studies will differ from year-to-year, depending upon the expertise of the module convenor.
The module is conceived as open to all Humanities MA students in Paris. It examines the medium of film, considering its specific qualities as an art and industrial form and the particular ways in which it is influenced by and influences other artistic and cultural forms in turn of the 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, technological developments, and historical change, particularly as they are developed in the growth of Paris as a city. The course also addresses the 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.
'Paris: Portfolio' contributes to the MA in Creative Writing in Paris. The objective of ‘Paris: Portfolio’ is to produce work inspired by the cultural, historical and aesthetic location of the city, taking regular writing exercises, field trips and prompts as a starting point. 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. Each week, students read a selection of work, in a variety of forms (fiction, non-fiction, poetry, prose poetry, hybrid texts; as well as artworks, TV, film and other media). Students will work on a specific exercise and submit it for workshopping each week, which they will draw upon to produce a portfolio of creative work for the main assessment. 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 development and honing of their emerging voices and styles through engaging with various literary texts and techniques, and to consider how their work can develop with large chunks of time for independent study, reflection and exploration of a city like Paris.
In this module students will focus on generating material, understanding their own writing process through practice and identifying their strengths and interests (literary and otherwise), with an emphasis on workshopping each week. They will work towards a fully realised and developed piece of writing, which may be self-contained or a part of a longer project. They may be continuing to work on an existing project, or starting something new. In seminar/workshops, they will give and receive constructive criticism, and work on editorial exercises to revise and refine their writing. Seminars will focus on reading selected extracts, process- and craft-focused texts, and reflective essays as a basis for class discussion. Seminar leaders will identify recommended reading tailored to individual students' interests and development.
The course trains students to communicate confidently and professionally about film form, style, and technique in a variety of spoken, written, and audio-visual formats (e.g. oral presentations, writing, video-essays and/or podcasts). Students will study the theoretical frameworks and specialised terminology which they need to produce accurate, coherent, and effective film analysis. Students will also learn to reflect critically on filmmaking from a variety of modes, genres, historical periods and national traditions (including, where applicable, their own filmmaking).
This module will pursue three interrelated aims through the use and study of drawing:
Firstly, it will introduce students to the range of drawing techniques used by artists, the different types of drawings they produce and their function in the process of designing and executing works of art. It will equip students with the tools for analysing and identifying drawings, and provide foundations for effective connoisseurship.
Secondly, it will equip students with a practice-based understanding of the role of drawing in artistic training and of its importance as a tool for creative work. Students will participate in drawing seminars where they will carry out exercises modelled on artistic practice. To give some indicative examples, these may begin with rudimentary conventions for drawing eyes and ears, through copy drawings to mechanical drawing methods like perspective and shadow projection, tracing and the use of the grid. The exercises may then build on these simple beginnings and develop towards portrait drawing informed by anatomical analysis of the skull, drawing from sculptural casts, from the draped and nude figure, sketching the landscape, and finally working towards the compositional drawing and methods for enlarging it. Drawing exercises will clarify for students the processes of artistic visualization and design, and make available to them an important tool of visual and art historical analysis.
Finally, the module will enable students to relate the analysis of historical drawings and the practice of making drawings to the theory of drawing and its significance in western culture generally.
This module will introduce students to the history and theory of curating through a series of detailed case studies from the early modern period to the present day. These will focus on how collections have been formed and maintained, the nature of key institutions in the art world like museums and galleries, and in particular it will examine the phenomenon of the exhibition. Different approaches to curating exhibitions will be examined, and the responsibilities of the curator towards artists, collections, and towards the public will be analysed. Broad themes in the theory of curating and museology will be examined. Wherever possible the case studies chosen will draw on the resources and expertise of partner organisations, such as Canterbury Museums and the Institute for Contemporary Art.
This module will introduce you to key concepts that are central to understand fundamental debates in history and philosophy of art as well as art criticism. Some examples of key concepts are the notion of originality, influence, race, the aesthetic, fiction, beauty, gender and taste. The key concepts discussed in the seminars are subject to change.
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.
This module explores the dynamic relationship between the cult of relics and Gothic art. It will begin by retracing the aesthetics of devotion across Western Christendom, culminating in the creation of towering Gothic cathedrals. Throughout history, the design of cult images could reveal sacred presence, testify to miracle-working powers, and explicate the significance of a holy place using visual narratives. Through pilgrimage, gift-giving, and even theft, people acquired relics and 'invented' new cults. The success of a relic cult would benefit from the design of a magnificent reliquary, the depiction of pictorial programmes (in glass, sculpture, and painting), and the placement of the relic within a spectacular architectural setting. Together we will explore the development of Gothic art in light of changing devotional needs. Using a number of diverse case studies, students will acquire a wealth of historical information and develop a variety of intellectual approaches to function and significance of visual culture. Beginning with Paris and its surrounding cathedrals, we will extend our analysis to Gothic Canterbury, London, Castile, Prague, Siena, and Florence. Above all, this course will encourage students to think critically about the influence of art in the religious imagination.
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.
Duration: 1 year full-time
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.
Assessment is by coursework and the dissertation.
The programme aims to:
You gain knowledge and understanding of:
You develop intellectual skills in:
You gain subject-specific skills in:
You will gain the following transferable skills:
As a student on a split Canterbury/Paris programme you will be able to study French for free with our online Language Express modules. The module covers French for beginners, so you can get up to speed before moving to Paris in your second term, with the option to continue developing your language skills alongside your studies in Paris.
If you are interested in joining the French Language Express modules, please email: artshumsugandpgt@kent.ac.uk
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.
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.
The Department embraces filmmaking and practice-based research in film and media. 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.
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.
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.
Research in both theory and practice is currently centred in five broad areas:
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.
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
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
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.
The Aesthetics Research Centre coordinates, enables and promotes research in philosophy of art and aesthetics at the University of Kent.
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.
Full details of staff research interests can be found on the School's website.
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.
The 2024/25 annual tuition fees for this course are:
For details of when and how to pay fees and charges, please see our Student Finance Guide.
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.
The University will assess your fee status as part of the application process. If you are uncertain about your fee status you may wish to seek advice from UKCISA before applying.
For details of when and how to pay fees and charges, please see our Student Finance Guide.
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.*
The University will assess your fee status as part of the application process. If you are uncertain about your fee status you may wish to seek advice from UKCISA before applying.
Find out more about general additional costs that you may pay when studying at Kent.
Search our scholarships finder for possible funding opportunities. You may find it helpful to look at both:
We have a range of subject-specific awards and scholarships for academic, sporting and musical achievement.
Next steps
Learn more about the application process or begin your application by clicking on a link below.
You will be able to choose your preferred year of entry once you have started your application. You can also save and return to your application at any time.
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