Cultural Studies and Film - BA (Hons)

Overview

What do we mean by ‘culture’ and why is its meaning often contested? Film, from experimental cinema to Hollywood block-busters, is an exciting subject through which to approach these questions. Our joint honours programme Cultural Studies and Film is a rewarding course that allows you to follow your passions.

At Kent, Cultural Studies is taught in the School of Social Policy, Sociology and Social Research where you benefit from a large choice of specialist modules on race, social change, criminal justice or disability and the arts. You are taught by leading academics in fields like gender, race and the body.

You explore the links between culture, film and society drawing on critical theories and methods from the social sciences and the humanities. We examine a range of areas, from digital media, to the creative and cultural industries, to social identities and movements.

The School of Arts’ Jarman building is a creative hub for students of film, drama, media studies and art history.

Our degree programme

The programme begins with an overview of different cultural and sociological theories that address ‘culture’, ‘media’ and ‘society’ as part of a broader global and historical context. You are also introduced to different film styles and genres.

You then go on to learn how to conduct and apply qualitative sociological research that engages with different cultural products like mass media; spoken word poetry; digital media technologies; television and film.

During all stages of your studies you have the opportunity to choose specialist modules that suit your interests and include topics like documentary cinema, screenwriting, digital culture, animated worlds and cultures of embodiment.

In your final year of study, there is an option to take a dissertation module on a subject of your choice or to complete an independent film project. This allows you to focus in detail on an area you are particularly passionate about.

Study resources

Facilities to support film studies include:

  • our own cinema, which screens ten to 15 films a week
  • 8,000 DVDs and videos in the library
  • individual and group viewing facilities in the library.

Our film production facilities are industry-standard and include the following:

  • sound-proofed production studio with projection, chroma-key green screen and black serge cycloramas
  • extensive lighting grid
  • sound-dubbing studio
  • individual editing suites equipped with Final Cut Pro
  • digital studio with post-production software.

Kent’s Templeman Library also gives you access to a wide range of topical journals and books in hard copy and digital format.

Your designated academic advisor provides guidance for your academic and professional development throughout your studies. Our Student Learning Advisory Service offers useful workshops on topics like essay writing and academic referencing.

Extra activities

There are a number of student-led societies at Kent which you may want to join, for example:

  • UKC Digital Media
  • Socrates Society
  • Film Society
  • Feminist Society
  • B-Movie Society.

The Gulbenkian, our campus arts-centre, has two large cinemas and screens block-busters as well as independent art films. It also holds regular events that might be of interest to you such as round-tables with directors and screenwriters. 

There are also events available throughout the year for students from the School of Social Policy, Sociology and Social Research. These may include:

  • research seminars and webcasts
  • career development workshops
  • informal lectures by guest experts followed by group discussion.

Entry requirements

Home/EU students

The University will consider applications from students offering a wide range of qualifications. Typical requirements are listed below. Students offering alternative qualifications should contact us for further advice. 

Please note that meeting this typical offer/minimum requirement does not guarantee an offer being made. Please also see our general entry requirements.

New GCSE grades

If you’ve taken exams under the new GCSE grading system, please see our conversion table to convert your GCSE grades.

  • Certificate

    A level

    BBB

  • Certificate

    Access to HE Diploma

    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.

  • Certificate

    BTEC Level 3 Extended Diploma (formerly BTEC National Diploma)

    Distinction, Distinction, Merit in Health and Social Care or Public Services.

  • Certificate

    International Baccalaureate

    34 points overall or 15 points at HL

International students

The University welcomes applications from international students. Our international recruitment team can guide you on entry requirements. See our International Student website for further information about entry requirements for your country. 

However, please note that international fee-paying students cannot undertake a part-time programme due to visa restrictions.

If you need to increase your level of qualification ready for undergraduate study, we offer a number of International Foundation Programmes.

Meet our staff in your country

For more advice about applying to Kent, you can meet our staff at a range of international events.

English Language Requirements

Please see our English language entry requirements web page.

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. You attend these courses before starting your degree programme. 

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Course structure

Duration: 3 years full-time (plus option of one full year abroad), 6 years part-time

Modules

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

On most programmes, you study a combination of compulsory and optional modules. You may also be able to take ‘elective’ modules from other programmes so you can customise your programme and explore other subjects that interest you.

Stage 1

Compulsory modules currently include

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

Find out more about FI313

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.

Find out more about FI315

This module introduces students to discussions and debates surrounding modern culture. It looks at why culture has always been such a contested sphere and has a decisive impact on society at large. Students will look at culture in the widest sense, ranging from ‘the arts’ to the banalities of everyday life in our consumer society; at how culture has expressed and organised the way people think and live from the days of 'protestantism' to those of post-punk. Books, magazines, radio, TV, movies, cartoons, fashion, graffiti, the cult of celebrity, youth subcultures and pop music will be used to understand class, history, sexuality, colonialism, revolution, conflict and globalisation.

Find out more about SO334

Contemporary culture is 'now-time' culture, but when did 'now’ begin - and, will it be over before the course starts? This module focuses on analysing contemporary culture and media and aims to demonstrate the range of possible interpretations that mediated culture can be open to. It raises questions about how culture can be viewed from aesthetic, political, ethical and economic perspectives. What is culture really for? Is it product or a process? Who owns it? Is it for fun or is it deadly serious? In order to think through contemporary issues such as gender relations, sexuality, multiculturalism and otherness, and what they might imply about our changing perceptions of space, place, and belonging, we'll be taking a case study approach to a range of cultural products and objects, media and institutions, and post-modern practices of communication. This module aims to understand the transformation of culture and media and everyday life we are living through and the way it changes who we are.

Find out more about SO335

You have the opportunity to select elective modules in this stage.

Stage 2

Compulsory modules currently include

The module will cover the following topics and issues:

1. The impact of social research upon both social theory and policy-making.

2. The primary epistemological and ontological debates and how these affect the research question, method and design.

3. The steps in designing a qualitative research project and criteria for assessing its quality as applied to positivist as well critical theorists approaches

Ethical considerations in social research, the main problems with establishing valid samples and how different sampling approaches can undermine the validity of the research findings.

4. The variety of qualitative research techniques available to social scientists and their relative advantages and disadvantages in understanding the social world. These include interviewing, visual, comparative/historical, and discourse analytic approaches.

Find out more about SO546

This module introduces and applies ideas in critical, cultural and communications theory to debates and issues surrounding media and popular culture, focusing on such themes as cultural elitism, power and control, the formation of identities, the politics of representation, and the cultural circuit of production and consumption. It investigates the relationship between the development of contemporary society and societal values and the changing technological basis of mediated culture.

Find out more about SO750

Optional modules may include

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 three 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.

Find out more about ART523

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.

Find out more about ART522

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.

Find out more about FI595

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'.

Find out more about FI603

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.

Find out more about FI618

This module provides an introduction to some key current industry practice surrounding working with actors. Students will explore the practice and ethics of the casting, as well as examining current UK and US industry trends and debates. The module also explores the role and expectations of the professional actor working in film. By practical and theoretical exploration of mainstream acting methodologies, and practitioners such as Stanislavski, Mamet and Meisner, students will develop practical skills and vocabularies for engaging productively with actors on shoots and in rehearsal. The module will also examine the practice of working with non-actors as performers, and scrutinise some more unconventional working methods espoused by directors who may include, but are not limited to, Mike Leigh, John Cassavetes, Ken Loach, Roberto Rossellini etc.

Find out more about FI629

Television is the most pervasive media form in daily life. In this introductory module students will look at the various historical, institutional and cultural factors that influence television production and programming. The module will examine a range of formats and genres (such as soap operas, sitcoms and 'reality TV') and students will gain critical understanding of the theoretical frameworks developed for their study. In addition, questions of target audiences (for example, children’s programmes) and key debates (such as the role of a public service broadcaster) will be addressed. The course will be taught through a series of case-studies using a wide range of television texts from Britain and beyond.

Find out more about FI632

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 the 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.

Find out more about FI583

This module seeks to investigate some of the most pressing ethical issues in contemporary media culture and the mediated arts. Topics may include: violence in video games, nudity on the screen and in advertising, anti-heroes and villains in fiction, propaganda and manipulation, sexism and racism in humour, shock value in the news and in contemporary art. To answer the many moral questions that arise in this context students will examine basic notions such as truth, objectification, voyeurism, exploitation, offence, harm, gender, and stereotype.

Find out more about MSTU5000

This module encourages students to establish connections between the critical analysis of literary texts and creative writing practice. Adopting a 'learning by doing'-driven analytical approach, students will engage both theoretically and practically with a selection of literary features and techniques. By reading closely a wide-ranging selection of short literary sample texts that encompass older and contemporary texts originally written in English as well as translations of texts written in languages other than English, we will analyse topics including character, point of view, setting, voice, style, structure, openings, and endings. We will also pay close attention to questions of translation and cultural specificity, and to the challenges of working with translations in a creative writing context.

Find out more about CP662

This course introduces students to the fiction (novels, novellas, and short stories) of some of the most influential twentieth- and twenty-first- century Latin American writers. The module ranges from Borges to the extraordinary literary phenomenon or explosion of the 'Boom generation', the post-Boom novel, and the recently acclaimed Chilean writer Roberto Bolaño (all studied in English translation). The course offers students the unique opportunity to study a fascinating corpus of literature celebrated for its creative innovation, fictional games, puzzles, labyrinths, fabulous and supernatural events, multiple storytellers, and magical realist writing. The course also addresses questions of gender, class, and social, cultural, and technological changes, as well as representations of identity, subjectivity, time, space, and landscape.

Find out more about CP532

This module introduces students to a range of nineteenth, twentieth, and twenty-first century literary and cinematic representations of vampires from different cultural backgrounds. It explores the reasons for the abiding allure of the figure of the vampire both in popular culture and in literary fiction.

The module will examine the ways in which vampires function as polyvalent symbols of specifically modern preoccupations, for the emergence and popularity of vampire tales is intricately bound up with the advent and wider cultural ramifications of modernity. What do vampires represent in each of the works discussed? What hidden desires and anxieties do they allow authors and filmmakers to express? The vampire is an allegorically highly potent figure that is suspended between life and death and between animal and human existence. Vampires frequently serve as foils to discuss more contentious matters, in particular questions relating to sexuality, gender roles, class, immortality and the desire for everlasting youth, being an outsider, and addiction.

Find out more about CP644

This module is designed as an exploration of both the social history and historiography of 'the Enlightenment'. It draws a focus to the legacy of Enlightenment in contemporary sociological theory. It explores the bearing of Enlightenment ideas and interests upon the intellectual and political cultures of western modernity. It introduces students to ongoing debates concerned with the legacy of the Enlightenment in twenty-first century society. In this context, it explores the influence of the Enlightenment and its cultural portrayal in contemporary sociology in current disputes concerned with the legacy of colonialism, the gendering of the public sphere, the fate of religion and religious culture through modern times, the cultivation of our social and political democracy and the ‘tragic’ fate of modern rationality.

Find out more about SO764

The course discusses the main approaches which have developed in urban sociology through an exploration of some of the major themes. These themes include urbanisation under capitalism, planning, post-industrialism, globalisation, social differentiation, multiculturalism, protest and social movements, and comparative urbanism (Asian and African contexts). Approaches considered within these will include Marx, Weber, the Chicago School, the Manchester school, and post-modernism.

Find out more about SO712

Environmental issues have become central matters of public concern and political contention. In this module we shall consider explanations for the rise and social distribution of environmental concern as well as the forms of organisation that have been adopted to address environmental questions, including the emergence of global environmental issues and the responses to them. The development of environmental protest, environmental movements and Green parties are central concerns, but we shall also consider the ‘greening’ of established political parties and political agenda. Is it realistic to expect the development of a global environmental movement adequate to the task of tackling global environmental problems. The approach is broadly comparative and examples will be taken from Europe (east and west), North America, Australasia and south-east Asia.

Find out more about SO525

This module combines theoretical and methodological approaches from sociology, cultural and media studies, history and literature to examine how our understandings of the past, present and future are formed, framed, mediated and remediated in a variety of social, cultural and political contexts. It aims to introduce students to key themes and issues related to the social experience of time. It will encourage them to reflect on how this experience informs our approaches to social problems, relationships of power and inequality, and the formation of collective identities. Over the course of the term, we will debate and critically explore the roles of heritage, nostalgia, the imagination, narrative and imagery at the heart of both processes of social change and cultural continuity. We will question what it is that forms the constitutive narrative of a cultural identity, its foundations, expression and trajectory. We will also examine the material and symbolic construction of social groups such as generations, classes and communities.

Find out more about SO621

This module critically examines the historical role that animals have played in the making of modern society and the current nature of human/nonhuman relations in contemporary cultures. Students will also be introduced to intersections of race/class/gender and species. The final part of the course considers collective action and social policy as it relates to past and present efforts to challenge problematic aspects of human/nonhuman relations.

Find out more about SO626

The course aims to develop an empirically grounded and theoretically engaged understanding of how social experience from the Global South informs, corrects and extends contemporary sociological theorisation and norms of sociological investigation. The module consists of three parts: 1) By putting the Global South and its power struggle in historical context, the module starts with critical examination on the blind spots of our presumed 'global' or 'cosmopolitan' social outlook. It problematises the once taken-for-granted universality of Eurocentric norms and discusses what good social research should look like. It also provides in-depth critique on the socio-political limitations of alternative theorisation from the Global South. 2) After establishing a solid historical and conceptual understanding of key debates, this module uses region-specific lectures (e.g. China, India and Africa) to deepen understanding on the Global South’s views on universality and difference, resistance and subversion, national and transnational solidarities. 3) This module concludes with methodological and conceptual reflections on mainstream sociology

Find out more about SO627

This module will examine the impact of digital technology on our social and cultural lives. It will concentrate on how the Internet in particular has challenged some of our more traditional notions of identity and self, the body, relationships, community, privacy, politics, friendship, war and crime, economics, among others. Lectures will show how some of the basic components of culture such as notions of identity, space, the body, community, and even the very notion of what it is to be human, have been complicated by the rise of virtuality and cyberspace. We will also examine these issues through case study phenomena unique to digital culture, currently including gaming, music, cybersex and social networking.

Find out more about SO657

The course is concerned with the relatively new ideas of living in a ‘risk society’ which theoretically capture the heightened sensitivity within Western societies to the numerous ‘risks’ which shape our lives. The course will explore basic concepts of risk, hazard and probability and how risk is managed and communicated. Topics will include risk and globalization, and risk and the media. Developments will be examined through key examples such as ‘mad cow’ disease and genetically modified ‘frankenfoods’. The course will suggest that heightened perception of risk is here to stay, and is leading to a reorganisation of society in important areas.

Find out more about SO659

Images of 'trim, taut and terrific' bodies surround us in contemporary consumer culture. They look down on us from billboards, are increasingly central to advertisers’ attempts to sell us clothes, cosmetics, cars, and other products, and pervade reality television programmes based on diet, exercise and ‘extreme’ makeovers. These trends have occurred at the same time that science, technology, genetic engineering and medicine have achieved unprecedented levels of control over the body: there are now few parts of the body which cannot be remoulded, supplemented or transplanted in one way or another. In this course we explore how culture represents and shapes bodies, and also examine how embodied subjects are themselves able to act on and influence the culture in which they live. We will seek to understand the relationship between the body and self-identity, embodiment and inequalities, and will explore various theories of the body. In doing this we range far and wide by looking at such issues as work, music, sex/gender, cyberbodies, Makeover TV, film, transgenderism, sport, music, work and sleep. Embodiment is the enduring theme of this course, though, and we will explore its many dimensions via a range of disciplinary and interdisciplinary perspectives, and by asking and addressing a range of questions such as ‘How and why has the body become increasingly commodified?’, ‘Why has the body become increasingly central to so many people’s sense of self-identity?’, ‘If we live in a culture that has been able to intervene in the sizes, shapes and contents of the body like never before, have people have become less sure about what is ‘natural’ about the body, and about how we should care for and treat our bodily selves?

Find out more about SO676

This module provides students with an understanding of the concept of social status: how it differs from (and interacts with) other aspects of social stratification, such as power, class, and material circumstances. Students will explore theories for why human beings value social status so highly, and why they often take such dramatic steps to avoid losing it. The module will examine how considering social status concerns helps us to understand a variety of important social phenomena, encompassing health, violence, education, cultural participation, morality, and identity. Students will become familiar with the empirical tools researchers have used to understand the role of status, along with the strengths and weaknesses of different approaches.

Find out more about SO5013

This module is concerned with the principles and practice of digital photography and photographic image editing. Topics will include: basic optics, lighting, cameras and imaging, composition and colour, files and processing, historical developments, image correction and manipulation. Theory is followed by practicals and workshops.

Find out more about EL536

What is sustainability? It has been defined in many ways, but the most frequently quoted definition is from 'Our Common Future', also known as the Brundtland Report (1987) which refers to 'development that meets the needs of the present without compromising the ability of future generations to meet their own needs.' While the concept of sustainability has its roots in the natural sciences, it is becoming evident that theories and practices of sustainability are of relevance in social and cultural studies as much as biophysical relationships.

The module begins with an examination of the wide-ranging definitions of sustainability and of the contribution to the discourse from Humanities subjects. We proceed to analyse a range of case studies representing the four disciplines of Modern Languages in SECL at Kent: French, German, Italian and Hispanic Studies. The case studies highlight cultural practices ranging across time periods and geographies in which sustainable processes are key. They may include the cultural history of sustainability or 'Nachhaltigkeit' in the German context; the Cinema Ritrovato festival in Bologna, Italy; the debate in psychoanalysis on the themes of exploitation/sustainability and competition/cooperation in relation to ecological practices and the environment; the works of Martinique author Patrick Chamoiseau and the challenges to French/Eurocentric concepts of sustainability; and the culture and practice of urban organic farming – organopónicos – that arose out of the economic crisis in Cuba in the 1990s and which have circular economics, cultural development and educational practices at their core.

The module concludes with a consideration of how the case studies illustrate theories and practices of sustainability, and how in turn they may be considered catalysts for further engagement in questions of sustainability

Find out more about SCL505

Stage 3

Optional modules may include

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.

Find out more about MSTU5003

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.

Find out more about ART500

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.

Find out more about ART501

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 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.

Find out more about ART520

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.

Find out more about FI585

This course probes film cultural issues surrounding extreme cinema, i.e., 'arthouse' films which, because of violent, sexual, or other iconoclastic content, form or style, have created critical or popular controversy. Representative topics include the aesthetics of violence and the ethics of representing and viewing pain, boundaries between erotic art and exploitation, disgust and the ‘unwatchable’, authorial and critical discourses, marketing, audience and reception studies and censorship.

Find out more about FI587

This module will introduce students to critical, historical and theoretical issues surrounding the practices of film programming. You will be enabled to undertake detailed, critical consideration of film programming as a form of artistic and cultural practice, in specific contexts, and will be introduced to a range of practical skills and knowledge involved in programming. You will acquire a practical understanding of the conceptualisation of film programmes, through the researching and programming of themed seasons of features, shorts, archive and/or artists' moving image work and the preparation and writing of supportive scholarly material, including programme notes. In addition, you will be exposed to the contemporary practices of film programming, including, for example, marketing, audience development and film education work.

Find out more about FI633

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.

Find out more about FI634

The module explores storytelling in fictional television series, and how the long duration of these series changes the spectator's engagement, as compared to engagement in the relatively short fiction film. Furthermore, this module focuses on case studies in order to investigate their narrative, stylistic and thematic characteristics, their specific genre conventions and their background in television history. Case studies may include The Sopranos, The Wire, Breaking Bad and Madmen in an inquiry into the narrative as well as moral complexity of this recent, so-called quality trend of American drama television series, and the emerging genre convention of the antihero. The module also addresses how various types of television series have been valued in critical reception through the history of television. For example, in relation to the case studies mentioned above, the module may examine critically the implications of the oft-used label 'Quality TV’ and the HBO slogan ‘It’s not TV, it’s HBO’. In addition to introducing the students to current developments in television studies, this module takes a film theoretical, narratological approach to current television series, and trains students in various approaches to the study of television series in and beyond television studies proper.

Find out more about FI622

A huge number of films and television programmes are adapted from other sources, and adaptation frequently arouses powerful responses from viewers and critics. This course explores the phenomenon of screen adaptations. There will be an emphasis on adaptations of literature to film and television, but the course also covers adaptations from theatre and other media. Students will watch a variety of film and television adaptations taken from classic novels, short stories, plays, modern novels and other sources, and in many cases we will also discuss the sources themselves. Therefore this course will appeal to students with eclectic interests, particularly those who enjoy literature, film and television. This course will provide an overview of adaptation studies, by addressing the particular questions that relate to adaptation, considering different approaches to the subject and debating the most contentious questions in the field. It will also open up discussion about the specificity and aesthetics of film and television as they are compared with other media. Students will investigate 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. The course will also give them the chance to explore how film and television deal with 'literary' devices such as syntax, allusion, metaphor and tense. Students will thus be exploring aspects of filmic and televisual representation that are ordinarily overlooked in the mainstream of film studies, enhancing our understanding of those media. Within the remit of the course, there will be opportunities for students to develop their own interests within the subject area, and to address new questions and problems in the field.

Find out more about FI568

Animation is a term covering a diverse range of forms, and this module introduces cel-

animation, stop-motion puppetry, abstract animation, as well as computer-generated cartoons and features (including animated documentaries) to explore the animated form. The first section of the module introduces different styles through a study of Disney and Warner Bros cartoons, the stop-motion animations of the Quay Bros, TV Anime, abstract music animation and web-based animation. The second section of the module uses a range of critical approaches to explore contemporary feature length animations from different national contexts.

Find out more about FI573

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 betweeen cognitive film theorists and exponents of other approaches to film.

Find out more about FI577

This module explores one of the major contributions of Germanic culture to modernism. Straddling the period immediately before, during, and after the First World War, Expressionism emerged as a reaction against the mechanising forces of modern industrial society, seeking nothing less than a 'renewal of mankind'. With compelling intensity, the Expressionists developed an immediately recognisable style that found an audience across Europe. This module looks at works from a range of genres: from poetry to drama, from prose (both fiction and manifestos) to painting, Expressionism was a key strand of international modernism across the Arts, embracing figures as diverse as Georg Kaiser, Kurt Pinthus, Else Lasker-Schüler, Franz Kafka, and Oskar Kokoschka. A century later, it remains one of the most important – and most idiosyncratically Germanic – of all modern artistic movements.

Find out more about GE592

This module seeks to investigate some of the most pressing ethical issues in contemporary media culture and the mediated arts. Topics may include: violence in video games, nudity on the screen and in advertising, anti-heroes and villains in fiction, propaganda and manipulation, sexism and racism in humour, shock value in the news and in contemporary art. To answer the many moral questions that arise in this context students will examine basic notions such as truth, objectification, voyeurism, exploitation, offence, harm, gender, and stereotype.

Find out more about MSTU5000

This module looks at a group of politically inspired literary texts, comics and films, some of which were produced under the totalitarian regimes which held sway in Europe between 1917 and 1989. Others deal with the Middle East conflict, and the Islamic revolution in Iran and Mao's Cultural Revolution in China, or power relations in other contexts. Most explore ways of challenging and subverting authoritarian power structures and of articulating a critique in what Bertolt Brecht called 'dark times’. But we also focus on less obvious negotiations of fiction and power, especially with respect to the various forms of power to which these texts are subject, in which they participate, and on which they reflect metafictionally. The approach is comparative in various ways as the texts range historically and culturally, as well as across genres and language barriers (Arab, Czech, English, French, German, Italian, Greek, Polish, Russian and Chinese).

Find out more about CP502

The module seeks to explore how novels and plays are adapted and interpreted for the screen. We will analyse how certain texts lend themselves to multiple reshaping, such as Laclos' Dangerous Liaisons. We will also analyse lesser-known works that have gone on to become feature films, such as Arthur Schnitzler’s Dream Story, filmed as Eyes Wide Shut. Adaptations directed by internationally recognized filmmakers such as Roman Polanski, Vittorio De Sica, Francis Ford Coppola, Stanley Kubrick, and Pier Paolo Pasolini will be examined with a view to eliciting and understanding their particular approach to, and filmic vision of, written texts.

Find out more about CP518

The award of literary prizes is a highly potent tool of cultural policy that frequently determines the wider national and international impact of a literary work. As such it is of crucial relevance to the study of comparative literature in a number of ways: the award of literary prizes reflects the beginnings of the successful or, as the case may be, the (ultimately) abortive formation of literary canons; moreover, it affords insights into processes of cultural production and marketing and reveals in which ways political and economic agendas are tied up with these processes; it also offers a perspective on transnational and transcultural aspects of the production and reception of literature and indicates shifting notions of the social function of literature and the writer; literature is thus understood as a cultural product in ever changing contexts which is frequently subject to external forces of which literary prizes become indicators or even 'enforcers'.

This module will investigate with the methods of literary and cultural studies the development of a number of major literary awards which have achieved global significance, among them the Nobel Prize for Literature and the Man Booker Prize the Prix Goncourt (This list may be modified according to precedent to accommodate the topical relevance of individual award winners in the future.) Seminars will develop a historical perspective by scrutinising and analysing award winners of the past and their most recent counterparts in their different production and marketing contexts as well as in changing reception contexts: seminars will include the close reading of individual works as well as their critical reception, and the analysis of marketing strategies in various media (e.g. reports in culture magazines, reviews, displays in book shops, translations, etc.); final winners will be interpreted in the context of the respective long and short lists from which they emerged; historical developments will be taken into account, for instance by investigating 'forgotten' prize winners in comparison with those who, largely through the agency of academic intervention, 'made it' into the canon; the module thus also offers an insight into the history of the discipline of literary studies.

Find out more about CP647

This is a module about the intersection of colonial power relations, anti-colonialism, postcolonialism, feminism, and identity politics in literature that interrogates the influence of imperialism on a sense of self. It considers the writing of a number of authors from Algeria, Morocco, Nigeria, Cuba and India. In light of the complex relationship between coloniser and colonised, we consider the ideology of many of these writers, as well as the ways in which their politics are articulated in their writing, whether fiction or non-fiction. We also examine to what extent this literature is representative of other postcolonial concerns such as nationhood and national consciousness, hybridity and assimilation, and exile and alienation within the larger context of cultural theory. Particularly significant is our interrogation of the violence inscribed in both the colonial system and the colonised's fight for independence as seen from the perspective of Frantz Fanon in Black Skin, White Masks (1952), A Dying Colonialism (1959), and The Wretched of the Earth (1961).

Studying the primary and secondary texts in English, we bring awareness to the reading scene of the translation process as an important development in the transnational study of comparative literature in a globalised world. In so doing, we acknowledge the significance of indigenous languages and dialects as signifiers of subject-hood in conflict with the coloniser's language. By exploring a variety of anti-colonial resistance and liberation discourses in relation to the development of current postcolonial thinking, the module also offers an insight into the history of the discipline of Postcolonial studies.

Find out more about CP652

Don Juan and Casanova are archetypes of the male seducer who, in the Western European tradition, stand for different interpretations of excessive passion. Don Juan hunts for virgins, nuns, and other women who are difficult to get (in that they belong to other men). Casanova, in turn, was attracted to the easy accessibility of moments of intense pleasure, which, although within potential reach to all, only few knew how to enjoy.

In this module we shall chart the metamorphoses of these two almost mythical figures since their emergence in seventeenth-century Spain and eighteenth-century Italy to explore the relationship between literature, music, film, and the erotic within different cultural and historical contexts. In our close analyses of plays, novellas, opera, and film, we will engage with the works of Freud and Jung, and we will consider gender as both a structure of power and, for Casanova, as a potentially fluid construct. More broadly, we will consider the historical, social and political contexts that frame various incarnations of Don Juan and Casanova, and we will use these central figures to answer important questions about the depiction of society, religion, sexuality, and morality.

Find out more about CP655

The current refugee crisis has brought widespread attention to the precarious situation of the refugee. While representations of refugees and migrants in literary texts can be traced back to antiquity, the current era of globalisation and international conflict has created a sense of urgency, resulting in an abundance of new literary works that are devoted to the figure of the refugee. Focusing on themes including forced displacement, home and hospitality, this module examines literature by and about refugees from as far afield as Lebanon, Iraq, Korea, Palestine and Vietnam.

This module explores the complexities associated with forced migration and refugee populations. It analyses tensions between the global and the local in the age of globalisation and considers whether we might view the current crisis as an articulation of the religious, cultural and racial tensions between East and West. Perhaps most importantly, the module will consider how literature might be an appropriate vehicle for articulating the humanity of those affected. Finally, students will consider the role of the refugee-as-author and question whether and how personal experiences of the authors might affect both narrative form and reader response.

The current crisis has led to the formation of new fields of study. Over the course of the module, students will engage with key theoretical concepts from mobility studies and border studies; they will also be introduced to the emerging field of refugee and forced migration studies, which examines the phenomenon of the refugee from a range of disciplinary perspectives, including anthropology, law, human rights, politics, literature and film.

Find out more about CP666

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.

Find out more about ART522

This module provides students with an understanding of the concept of social status: how it differs from (and interacts with) other aspects of social stratification, such as power, class, and material circumstances. Students will explore theories for why human beings value social status so highly, and why they often take such dramatic steps to avoid losing it. The module will examine how considering social status concerns helps us to understand a variety of important social phenomena, encompassing health, violence, education, cultural participation, morality, and identity. Students will become familiar with the empirical tools researchers have used to understand the role of status, along with the strengths and weaknesses of different approaches.

Find out more about SO5013

Images of 'trim, taut and terrific' bodies surround us in contemporary consumer culture. They look down on us from billboards, are increasingly central to advertisers’ attempts to sell us clothes, cosmetics, cars, and other products, and pervade reality television programmes based on diet, exercise and ‘extreme’ makeovers. These trends have occurred at the same time that science, technology, genetic engineering and medicine have achieved unprecedented levels of control over the body: there are now few parts of the body which cannot be remoulded, supplemented or transplanted in one way or another. In this course we explore how culture represents and shapes bodies, and also examine how embodied subjects are themselves able to act on and influence the culture in which they live. We will seek to understand the relationship between the body and self-identity, embodiment and inequalities, and will explore various theories of the body. In doing this we range far and wide by looking at such issues as work, music, sex/gender, cyberbodies, Makeover TV, film, transgenderism, sport, music, work and sleep. Embodiment is the enduring theme of this course, though, and we will explore its many dimensions via a range of disciplinary and interdisciplinary perspectives, and by asking and addressing a range of questions such as ‘How and why has the body become increasingly commodified?’, ‘Why has the body become increasingly central to so many people’s sense of self-identity?’, ‘If we live in a culture that has been able to intervene in the sizes, shapes and contents of the body like never before, have people have become less sure about what is ‘natural’ about the body, and about how we should care for and treat our bodily selves?

Find out more about SO676

The module aims to enable students to conceive and execute a major research project in the field of cultural studies. Students attend a Summer term group meeting with the module convenor to explore and discuss ideas for research and the submission of a draft title and plan, which is to be completed during the long vacation prior to the module beginning. In the Autumn term they will receive feedback on this plan and proposal from their supervisor and/or the module convenor. They will then be required to attend a series of meetings with their assigned supervisor throughout the Autumn term and at the end of that term submit a Literature Review for assessment. In the spring term, research and writing of the dissertation continue under the guidance of the supervisor and at the end of the term, the completed assignment is submitted.

Find out more about SO683

The course is concerned with the relatively new ideas of living in a ‘risk society’ which theoretically capture the heightened sensitivity within Western societies to the numerous ‘risks’ which shape our lives. The course will explore basic concepts of risk, hazard and probability and how risk is managed and communicated. Topics will include risk and globalization, and risk and the media. Developments will be examined through key examples such as ‘mad cow’ disease and genetically modified ‘frankenfoods’. The course will suggest that heightened perception of risk is here to stay, and is leading to a reorganisation of society in important areas.

Find out more about SO659

This module will examine the impact of digital technology on our social and cultural lives. It will concentrate on how the Internet in particular has challenged some of our more traditional notions of identity and self, the body, relationships, community, privacy, politics, friendship, war and crime, economics, among others. Lectures will show how some of the basic components of culture such as notions of identity, space, the body, community, and even the very notion of what it is to be human, have been complicated by the rise of virtuality and cyberspace. We will also examine these issues through case study phenomena unique to digital culture, currently including gaming, music, cybersex and social networking.

Find out more about SO657

The course discusses the main approaches which have developed in urban sociology through an exploration of some of the major themes. These themes include urbanisation under capitalism, planning, post-industrialism, globalisation, social differentiation, multiculturalism, protest and social movements, and comparative urbanism (Asian and African contexts). Approaches considered within these will include Marx, Weber, the Chicago School, the Manchester school, and post-modernism.

Find out more about SO712

This module is designed as an exploration of both the social history and historiography of 'the Enlightenment'. It draws a focus to the legacy of Enlightenment in contemporary sociological theory. It explores the bearing of Enlightenment ideas and interests upon the intellectual and political cultures of western modernity. It introduces students to ongoing debates concerned with the legacy of the Enlightenment in twenty-first century society. In this context, it explores the influence of the Enlightenment and its cultural portrayal in contemporary sociology in current disputes concerned with the legacy of colonialism, the gendering of the public sphere, the fate of religion and religious culture through modern times, the cultivation of our social and political democracy and the ‘tragic’ fate of modern rationality.

Find out more about SO764

Fees

The 2021/22 annual tuition fees for UK undergraduate courses have not yet been set by the UK Government. As a guide only full-time tuition fees for Home undergraduates for 2020/21 entry are £9,250:

  • Home full-time TBC
  • International full-time TBC
  • Home part-time TBC
  • International part-time TBC

For details of when and how to pay fees and charges, please see our Student Finance Guide.

Full-time tuition fees for Home undergraduates in 2020 were £9,250.

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.* 

EU students

Kent is supporting its EU students as the UK leaves the EU with a special EU fee offered for students joining in 2021 for the duration of their programmes. EU, other EEA and Swiss nationals will no longer be eligible for home fee status, undergraduate, postgraduate and advanced learner financial support from Student Finance England for courses starting in academic year 2021/22. It will not affect students starting courses in academic year 2020/21, nor those EU, other EEA and Swiss nationals benefitting from Citizens’ Rights under the EU Withdrawal Agreement, EEA EFTA Separation Agreement or Swiss Citizens’ Rights Agreement respectively. It will also not apply to Irish nationals living in the UK and Ireland whose right to study and to access benefits and services will be preserved on a reciprocal basis for UK and Irish nationals under the Common Travel Area arrangement.

Your fee status

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.

Additional costs

General additional costs

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

Funding

University funding

Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. See our funding page for more details. 

Government funding

You may be eligible for government finance to help pay for the costs of studying. See the Government's student finance website.

Scholarships

General scholarships

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.

The Kent Scholarship for Academic Excellence

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 AAA over three A levels, or the equivalent qualifications (including BTEC and IB) as specified on our scholarships pages

The scholarship is also extended to those who achieve AAB at A level (or specified equivalents) where one of the subjects is either mathematics or a modern foreign language. Please review the eligibility criteria.

Teaching and assessment

Cultural Studies

We use a variety of teaching methods, including lectures, case study analysis, group projects and presentations, and individual and group tutorials. Many module convenors also offer additional ‘clinic’ hours to help with the preparation of coursework and for exams.

Film

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.

Contact Hours

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.

Programme aims

The programme aims to:

  • develop students' ability to undertake critical analysis in film and cultural studies
  • provide teaching informed by current research in the fields of film and culture
  • provide a coherent, flexible and progressive curriculum which includes options from a wide range of disciplinary and interdisciplinary areas, particularly in the study of film and culture
  • provide broad knowledge of relevant concepts, debates and theoretical approaches in the study of film and culture
  • develop students' awareness of, and sensitivity to, the contexts of production and consumption involved in film and culture
  • provide opportunities for the development of personal, communication, research and other key skills appropriate to graduate employment in a range of cultural, media and education-related spheres, and for further research in the fields of film and cultural studies.

Learning outcomes

Knowledge and understanding

You gain knowledge and understanding of:

  • aesthetic judgement
  • particular forms of film and culture, including the way they organise understanding and meaning
  • the historical evolution of particular genres, aesthetic traditions and forms
  • cultural and social contexts that affect the meaning of film and television works
  • conceptualisations of meaning, pleasure and identification in film and culture
  • how the modes of production/consumption of film and cultural texts and products shape contemporary life
  • the nature and impact of new technologies
  • major theories of film and cultural studies.

Intellectual skills

You gain intellectual abilities in how to:

  • analyse critically a wide range of film and cultural forms
  • understand forms of film and culture as they have emerged historically
  • clearly express your own ideas in oral and written presentations
  • evaluate and draw upon sources and conceptual frameworks appropriate to research in relevant areas
  • apply film, and cultural, theory to familiar and unfamiliar contexts, products and milieu
  • draw and reflect upon the relevance and impact of your own cultural assumptions to the practice of research and evaluation.

Subject-specific skills

You gain the following subject-specific skills:

  • conception and application of cross-disciplinary strategies of investigation of film and cultural issues, themes and topics
  • drawing upon and bringing together ideas, knowledge of narrative and stylistic forms and structures in film and culture
  • the ability to articulate understanding of visual and oral media in a written medium
  • the ability to evaluate theoretical models and paradigms of cultural production, consumption and reception
  • effectively deploying terms and concepts specific to the study of film and television
  • the ability to integrate diverse sources of cultural information and produce new knowledge.

Transferable skills

You gain the following transferable skills:

  • working in flexible, creative and independent ways
  • showing self-discipline, including time management, as well as self-direction and the ability to reflect on one’s own practices
  • sustaining focus and applying attention to detail
  • organising and managing supervised, self-directed projects
  • researching and evaluating sources in the process of carrying out independent study
  • communicating effectively and appropriately orally and in writing, and (where undertaken) in other media
  • working productively in a group or team, showing abilities at different times to listen, contribute and lead effectively
  • showing insight in and understanding of the social and ethical issues surrounding contemporary communications, media, culture and society; demonstrating the ability to draw on this understanding and knowledge in your engagement and contribution to contemporary society as workers and citizens
  • draw upon IT skills, including (where taken) skills in digital technology in relation to practice.

Teaching Excellence Framework

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.

Independent rankings

Sociology* at Kent was ranked 16th in The Times Good University Guide 2020 and 1st for research quality in The Complete University Guide 2021.

Over 87% of final-year Sociology students were satisfied with the quality of teaching on their course in The Guardian University Guide 2020.

Of Sociology graduates who responded to the most recent national survey of graduate destinations, over 93% were in work or further study within six months (DLHE, 2017).

Drama and Cinematics at Kent scored 94% overall in The Complete University Guide 2021.

*Cultural Studies is included in Sociology.

Careers

Graduate destinations

As part of your degree, you develop critical thinking, transferable knowledge and skills that enable you to work in a variety of professions.

Our graduates have gone on to work in:

  • film and TV production
  • media, journalism, broadcasting
  • the cultural and creative industries
  • international institutions and NGOs
  • arts administration
  • advertising and design
  • tourism and heritage
  • the organisation of social and community projects.

Help finding a job

The University has a friendly Careers and Employability Service, which can give you advice on how to:

  • apply for jobs
  • write a good CV
  • perform well in interviews.

Career-enhancing skills

Our graduates develop substantial transferable skills that are valued in a range of professions.

These skills include:

  • communication
  • organisational and research skills
  • analysing complex information and making it accessible to non-specialist readers
  • writing reports
  • working effectively and considerately in teams.

You can gain additional skills by signing up for our Kent Extra activities, such as learning a language or volunteering.

Apply for Cultural Studies and Film - BA (Hons)

Full-time applicants

Full-time applicants (including international applicants) should apply through the Universities and Colleges Admissions Service (UCAS) system. If you need help or advice on your application, you should speak with your careers adviser or contact UCAS Customer Contact Centre. 

The institution code number for the University of Kent is K24, and the code name is KENT.

Application deadlines

See the UCAS website for an outline of the UCAS process and application deadlines. 

If you are applying for courses based at Medway, you should add the campus code K in Section 3(d).

Apply through UCAS

Apply now for part-time study

Cultural Studies and Film - BA (Hons) - part-time at Canterbury

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Enquire online for part-time study

T: +44 (0)1227 768896

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International student enquiries

Enquire online

T: +44 (0)1227 823254
E: internationalstudent@kent.ac.uk

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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.

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Find out more about the Unistats dataset on the Higher Education Statistics Agency website.