Learn the language of film and discover its rich history at Kent, one of the three major universities for film in the UK. Study film from its silent beginnings through to 3D CGI blockbusters, taking in avant-garde and international cinemas on your way, and find your own voice as a critic and a filmmaker.
For over 30 years, Kent has been at the forefront of developing film as an academic subject. Our expertise means that you have a wide choice of areas to explore.
As a student, you become part of the community based within the School of Arts building – a creative hub for students of film, drama, media studies and art history.
Our degree is flexible: you study film theory but you also have the option to explore film practice – for example, through developing the skills of a film critic or getting involved in creative film production.
In the first year, you cover the language of film (framing, sound, editing, performance, lighting), learn about the theory and the history of film, and can take a practical filmmaking module.
In your second and final years, you have a huge range of modules to choose from, covering everything from avant-garde to animation, with a variety of practice modules too, including screenwriting and documentary film.
Your placement year usually takes place between your second and final year of study, and can be either paid work or an internship. Taking a placement year increases your professional contacts and gives you the chance to gain some knowledge of the work environment, acquire new skills, and develop your confidence.
You have the option to study Film with a year of working or studying abroad. For details, see Film with a Year Abroad.
Alternatively, you can take our three-year Film degree, without a placement year or year abroad. For details, see Film.
Facilities to support film theory include:
Our film production facilities are industry-standard and include the following:
The School of Arts puts on many special events, which you are welcome to attend. In previous years, these have included symposia, seminars, conferences and exhibitions, as well as visits by filmmakers and critics.
You also have the chance to take part in film-related student societies.
For trips to the cinema, we have the Gulbenkian Cinema on campus, which screens arthouse, independent, foreign language and blockbuster films. In Canterbury city centre, there is also the Curzon arts cinema and an Odeon.
Film students become part of a wide professional network, thanks to our excellent links with other film bodies. These include:
You are more than your grades
At Kent we look at your circumstances as a whole before deciding whether to make you an offer to study here. Find out more about how we offer flexibility and support before and during your degree.
The University will consider applications from students offering a wide range of qualifications. Some typical requirements are listed below. Students offering alternative qualifications should contact us for further advice. Please also see our general entry requirements.
If you are an international student, visit our International Student website for further information about entry requirements for your country, including details of the International Foundation Programmes. Please note that international fee-paying students who require a Student visa cannot undertake a part-time programme due to visa restrictions.
Please note that meeting the typical offer/minimum requirement does not guarantee that you will receive an offer.
The University will not necessarily make conditional offers to all Access candidates but will continue to assess them on an individual basis.
If we make you an offer, you will need to obtain/pass the overall Access to Higher Education Diploma and may also be required to obtain a proportion of the total level 3 credits and/or credits in particular subjects at merit grade or above.
The University will consider applicants holding BTEC National Diploma and Extended National Diploma Qualifications (QCF; NQF; OCR) on a case-by-case basis. Please contact us for further advice on your individual circumstances. A typical offer would be to achieve DMM.
34 points overall or 15 points at HL
Pass all components of the University of Kent International Foundation Programme with a 60% overall average.
Please see our English language entry requirements web page.
If you need to improve your English language standard as a condition of your offer, you can attend one of our pre-sessional courses in English for Academic Purposes before starting your degree programme. You attend these courses before starting your degree programme.
Sign up here to receive all the latest news and events from Kent.
Duration: 4 years full-time
The course structure below gives a flavour of the modules that will be available to you and provides details of the content of this programme. This listing is based on the current curriculum and may change year to year in response to new curriculum developments and innovation. Most programmes will require you to study a combination of compulsory and optional modules. You may also have the option to take ‘elective’ modules from other programmes offered by the University in order that you may customise your programme and explore other subject areas of interest to you or that may further enhance your employability.
The course introduces students to the language of film, from aspects of mise-en-scène (setting, performance, costumes, props, lighting, frame composition) to framing (camera movement, shot scale, lenses), sound (fidelity, volume, timbre) and editing (from requirements for spatial orientation through matches on action, eyeline matches and shot-reverse-shot structures to temporal manipulations through ellipsis and montage). The study of these elements enables students to understand the spatial and temporal construction of films, as well as the stylistic, expressive and/or dramatic functions of specific strategies.
This module approaches the "big questions" that have surrounded film and the moving image and puts them into historical context. Although specific topics will vary, representative topics may address competing definitions of film and its constitutive elements, the effects that cinema has on spectators, the social, cultural and political implications that moving images reproduce, and the status of the medium between art and entertainment. Students will debate seminal writings on the nature of film and bring their arguments to bear on exemplary film productions.
This course examines film history and historiography through a series of case studies. In carrying out this investigation students will be invited to work with secondary and primary sources held in the library and will be encouraged to evaluate the aesthetic, technological, economic, social and political histories presented in this module. Students will understand the role and value of the contextual study of film and will be given the opportunity to research and write on selected aspects of film historiography. The choice of case studies will depend upon the expertise of the module convenor and is not restricted to a particular national cinema or period; case studies may include, for instance, the history of film by means of the study of a particular theme and cultural context in the history of film.
Introduction to Filmmaking draws upon concepts in Film Studies to inform an introduction to moving image production that focuses on the exploration of cinematic language. Basic technical skills in DV production and post-production are taught along with craft skills applicable to both narrative and experimental screen production. Through a combination of lectures, screenings, creative and technical workshops, and peer reviews of work in progress, this module encourages experimentation, critical reflection, independent thought, and dialogue between theory and practice. Effective group work is integral to the success of student work on this module. Practical work is designed to trigger both conceptual and creative thinking as well as consideration of audience responses to cinematic language. The essay, a critical analysis of the finished film, is designed to encourage a dialogue between theory and practice.
You have the opportunity to select elective modules in this stage.
The art historian Aby Warburg – an avid reader of Thomas Carlyle's philosophical novel about clothes Sartor Resartus (1836) – said that a good costume, like a good symbol, should conceal as much as it reveals. This module will take an interdisciplinary approach to the study of costume and fashion – the art that can be worn – in order to explore their roles in drama, film and the visual arts. The social values encoded by clothes, their relation to class or sexual identity, will be discussed, along with how these assumptions inform the use of costume in adaptations or stagings of texts, or how they colour our view of a character, or of a director’s interpretation (for example, using deliberate anachronism). The role of clothing and costume in the history of art will be analysed from artists’ representation of clothes, contemporary or otherwise, to their involvement in fashion design.
This module will look at disability in the arts, covering theatre, film and visual art. The students will engage with the historical representation of disability within the arts and the way in which disability scholars have critically engaged with it. The students will also look at arts institutions (i.e. theatres, cinemas and galleries) and the disabling barriers within those institutions that prevent the full participation of people with impairments in the arts. This will culminate in an 'accessibility review', whereby the students analyse the adjustments made by arts institutions for people with impairments and the extent to which they are effective. Finally, the students will engage with examples of contemporary disabled artists whose impairments informs the aesthetic qualities of their work.
This is a practice-based module exploring the photographic medium and the contexts of its use through the production of photographs in response to a project brief and group-based critical discussion of the work produced. Students investigate how the context in which photographs are made affect how the world is represented, and how in turn these images shape perception. Students choose two practical project briefs that are designed to enable them to explore the medium creatively and through informed and reflective practice. The emphasis of the module is upon this creative practice rather than the acquisition of specific technical skills, and as such students are at liberty to use any photographic production and post-production technologies they wish to experiment with or find appropriate. A camera phone and access to a computer and printer are all that is needed for this module, though students who wish to make use of digital image processing or analogue processes, including use of a darkroom, are encouraged to do so. Each of the practical project briefs will be supported through a series of lectures closely examining various genres, styles and other contexts of photographic production through the work of those who have shaped them. In addition students will present the work they have produced in response to their project briefs, and engage in a broad critical discussion or their own and other's work.
For much of film history and in most of the world, Hollywood productions have dominated the market share of film consumption. Nevertheless, film production is a worldwide phenomenon and these 'world' or 'national' cinemas have significant cultural, social and economic functions both within domestic contexts and abroad. This module investigates cinema from one world country or region. The case study will vary from year to year: for example, Latin America; Scandinavia; Eastern Europe; China, Korea and/or Japan. In introducing films from the case-study nation or region, the module aims to study how filmmakers actively franchise, adopt and rework film styles and genres; respond to the (film) culture and history of the domestic country and also to 'Hollywood' and international cultures; and/or tailor their practice to tastes of local and foreign audiences and gatekeepers. Above and beyond, the module will investigate the funding structures, distribution strategies and/or other industrial structures and norms that incentivise certain topics and representation styles. We will critically assess transnational aspects of the 'national' cinema in question, in the context of international multi-media corporate conglomerates' involvement in creative industries.
This module studies individual genres, which may vary across different academic terms (it may focus on the horror, science-fiction, western, musical, comedy, the noir or the gangster film, among others). It combines aesthetic and narrative analysis with the history of the genre. The theoretical framework draws from traditionally employed methods to study the genre in question (for example, psychoanalytical, postmodern or cognitive theory). The historical portion of the course examines the genre's growing commercial viability, the proliferation of subgenres, and the growing attention of academics. Topics include, but are not restricted to, gender politics, representations of sexuality, political commentary, allegory.
Cinema has typically been conceived of as an essentially visual phenomenon – films, it is often said, are essentially moving pictures. Sound has, nevertheless, played an important role from the beginnings of cinema, a fact which has been acknowledged in the detailed historical, theoretical and critical work on film music, and film sound more generally. Sound, Music and Cinema will provide an overview of this field of research, and aim to provide students with a clearer understanding of and greater sensitivity to the soundtrack. The course will begin by setting up an introductory framework for the understanding of sound, which considers the relationship between music and other aspects of film sound (speech, ambient sound, sound effects), as well as the nature of the relationship between sound and image. Subsequent sessions will consider the evolution of sound technology and its impact on the aural aesthetics of film; the use of classical and popular music in film scores; the emergence of sound designers, in contemporary cinema; and the distinctive and innovative use of sound and music by a number of 'sound stylists'.
This module offers students an introduction to the terms, ideas and craft, involved in the creation of screenplays. Screenwriting is a unique form of writing with very different concerns from the novel, theatre and radio. 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.g. early cinema, direct cinema, cinema verité, and the film essay. The exercises are an opportunity for students to develop their creative practice. The development of a treatment / proposal leading to the production of final film project will use theory and critical analysis to develop students understanding of documentary practice.
Students will build on existing skills of collaboration (learnt on FILM3080/90 Introduction to Filmmaking), improving competence in the planning, production and editing of practical, creative work. 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.g. ideological, ethical) of their production decisions; the course will enhance student's ability to reflect self-critically on their own and other student's practical work.
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 1929 until the collapse of the studios in 1960. 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.
You have the opportunity to select elective modules in this stage.
If you achieve at least 60% in Stage 1, you can opt to spend a year in industry between Stages 2 and 3 to gain relevant workplace experience and enhance your employment prospects following graduation. The year is assessed on a pass/fail basis through employer feedback and a written report that you submit.
Students spend a year (a minimum of 24 weeks full-time, or the equivalent part-time) working in a work place setting, applying and enhancing the skills and techniques they have developed and studied in the earlier stages of their degree programme. The work place may be directly related to a student's degree, but this is not a requirement of the module. The work students do is entirely under the direction of their work place supervisor, but support is provided via a dedicated Placement Coordinator within the student's home School The University will provide the work place supervisor with clear written guidance outlining the intended learning outcomes and measures the employer must take to support the student in achieving these. This guidance is included in a three way agreement entered into by the University of Kent, the workplace provider and the student. This agreement must be signed by all relevant parties before the placement commences.
Note that participation in this module is dependent on students obtaining an appropriate placement (or a number of appropriate shorter placements that have a combined duration equivalent to 24 weeks full-time employment), for which guidance is provided through the School and Faculty in the year leading up to the placement. The Careers and Employability Service will also provide students with advice and guidance on applying and preparing for work placements.
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. The total of 300 hours will be divided as required for purposes of preparation, attendance of work placement and reflection/completion of required assessment.
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.' Cognitive theory emerged in the 1950s with the groundbreaking linguistic research of Noam Chomsky, who demonstrated that linguistic competence depended on innate mental capacities, and that certain universal grammatical norms underlie and unify the variety of languages. 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 1980s, 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 exercises are an opportunity for students to develop their creative practice. 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. As well as focusing specifically on the work carried out by the film/video editor, the module also engages with 'editing' as an approach to shaping raw material that extends across all aspects of film production: from screenwriting, through directing, to post-production. The module will situate this focus within the broader context of ‘montage’ and ‘collage’ as principles that extend across diverse art forms including painting, sculpture, photography, literature, music, and digital media. A series of practical exercises will be contextualised through lectures focusing on the editing choices made in a variety of fiction, documentary, experimental, found footage, and/or interactive films. These exercises will provide students with an opportunity to engage creatively with, and reflect critically on, pre-existing moving images in a range of applications from traditional continuity editing, through documentary ‘storytelling’, to experimental montage.
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. Students will examine the ‘star system’ and its relationship to a range of topics which may include: performance; genre; the representation of gender and gendered bodies; audiences and fan studies; stars within dominant cultures and subcultural groups; and acting as labour. 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. Often characterised as a more contemporary phenomenon, the notion of ‘celebrity’ incorporates prominent figures in the public eye to whom the extension of fame is not necessarily based on any specific skill, talent or achievement. 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. The importance of media technologies within both the study of stars and celebrity culture is stressed throughout the course.
Throughout its history, film has functioned as a powerful sociopolitical engine. Individuals and groups have used this medium to express their identities (whether gender, sexual, ethnic, class, political, national, taste or intersectional constellations thereof) to various audiences, to portray their histories and current realities, to interrogate social norms, to agitate for civil rights and to imagine more equal futures. By the same token, film's unique capacities to reflect, refract and represent has also meant that individuals and groups have also used the medium to exert power or subjugate, create and reinforce stereotypes about the Other or justify their own dominance in the social order. This module focusses on this vital aspect of cinema. Each year the convenor will focus on one case study or series of case studies, for example: how the portrayal of violent women protagonists in action film and television series challenge notions of femininity; the interrelation between gender representation and genre more widely; the use of film as tool for politically/ideologically motivated State-run cinemas (e.g. USSR, Nazi Germany); cinema’s role in the identity wars of post-Vietnam 1970s America; the History of African American cinema; the construction and interrogation of sexuality and queer identities.
Content producers - especially actors and directors – are the most publicly visible representatives of the film industry. However, these individuals stand in for only a tiny fraction of the jobs, roles and institutions that ultimately shape films and frame their horizons of expectations for audiences: e.g. funding bodies, festivals, critics, exhibitors and regulators. This module delves into one such vital value-adding institution, film marketing and distribution, regarding it as much more than a neutral 'pipeline' for delivering films and making audiences aware of them. Using a range of case studies that will vary from year to year, the module illuminates, for example, how marketing is used to mitigate risk and maximise revenue; the various purposes, forms and formats of film publicity; how distributors purchase rights and assemble lists; how distributors and marketers position individual films to certain target audiences and territories; how film audiences select which films to view; how cinematic exhibition fits within multi-platform distribution strategies; and the rise of ‘non-traditional’ distribution portals (e.g. Netflix and Amazon).
In mainstream media franchises, contemporary moving images are now typically transmedial, existing in different forms and across different platforms: for example, the Marvel universe includes comic books, films (released in cinemas and VoD), games, and VR experiences. This multiplicity of platforms generates new, and takes further existing, forms of fan culture as media-makers use transmedial platforms to reach new audiences and create media that can be experienced across multiple devices. The module explores fan culture and its engagement with different media content, and offers a critical and creative perspective on how media exist across different formats.
You have the opportunity to select elective modules in this stage.
The 2021/22 annual tuition fees for this programme 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.*
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.
Fees for Home undergraduates are £1,385.
Fees for Home undergraduates are £1,385.
Students studying abroad for less than one academic year will pay full fees according to their fee status.
The following course-related costs are not included in your tuition fees.
For students taking film practice/production modules, we recommend you purchase:
Our video production facilities will be Adobe-based. Therefore, if you wish to invest in your own equipment, these purchases will ensure it fits in seamlessly with our technology. However, any student unable to make these purchases will be guaranteed the use of the same, or better, University resources and will not be disadvantaged.
For students taking the Beyond Cinema module:
You have the opportunity to attend special screenings and other activities. Participation is strongly encouraged. The fee for these activities is due in the first few weeks of term and is approx. £20 (based on previous years).
Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. See our funding page for more details.
You may be eligible for government finance to help pay for the costs of studying. See the Government's student finance website.
Scholarships are available for excellence in academic performance, sport and music and are awarded on merit. For further information on the range of awards available and to make an application see our scholarships website.
At Kent we recognise, encourage and reward excellence. We have created the Kent Scholarship for Academic Excellence.
The scholarship will be awarded to any applicant who achieves a minimum of A*AA over three A levels, or the equivalent qualifications (including BTEC and IB) as specified on our scholarships pages.
All modules involve lectures, small group seminars and film screenings (where relevant). On average, you have two lectures and three hours of seminars each week, plus four to six hours film viewing.
Depending on the modules you select, assessment varies from 100% coursework (extended essays or dissertation), to a combination of examination and coursework.
For a student studying full time, each academic year of the programme will comprise 1200 learning hours which include both direct contact hours and private study hours. The precise breakdown of hours will be subject dependent and will vary according to modules. Please refer to the individual module details under Course Structure.
Methods of assessment will vary according to subject specialism and individual modules. Please refer to the individual module details under Course Structure.
The programme aims to:
You gain knowledge and understanding of:
You gain the following intellectual abilities:
You gain subject-specific skills in the following:
You gain transferable skills in the following:
All University of Kent courses are regulated by the Office for Students.
Based on the evidence available, the TEF Panel judged that the University of Kent delivers consistently outstanding teaching, learning and outcomes for its students. It is of the highest quality found in the UK.
Please see the University of Kent's Statement of Findings for more information.
Drama and Cinematics at Kent scored 94% overall in The Complete University Guide 2021.
Media and Film Studies at Kent was ranked 6th in The Guardian University Guide 2021.
Recent graduates have gone on to work in areas such as:
Our alumni include:
Kent School of Arts has an excellent reputation and many links to professional practices. This network is very useful to students when looking for work.
The University also has a friendly Careers and Employability Service which can give you advice on how to:
As well as gaining skills and knowledge in your subject area, you also learn the key transferable skills that are essential for all graduates. These include the ability to:
You can also gain extra skills by signing up for one of our Kent Extra activities, such as learning a language or volunteering.
If you are from the UK or Ireland, you must apply for this course through UCAS. If you are not from the UK or Ireland, you can choose to apply through UCAS or directly on our website.Find out more about how to apply
Discover Uni is designed to support prospective students in deciding whether, where and what to study. The site replaces Unistats from September 2019.
Discover Uni is jointly owned by the Office for Students, the Department for the Economy Northern Ireland, the Higher Education Funding Council for Wales and the Scottish Funding Council.
Find out more about the Unistats dataset on the Higher Education Statistics Agency website.