Students preparing for their graduation ceremony at Canterbury Cathedral

Film and Religious Studies - BA (Hons)

UCAS code VW66

2018 See 2017 entry

Religious Studies and Film is an exciting, expanding area of study and our current staff are at the forefront of study in this field. Religious Studies at Kent allows you to study religiosity and popular culture via various mediums such as literature, sociological study, and of course film. 

Overview

Film 

We are one of the three major universities in the UK for film studies, and one of the most highly regarded departments in Europe. Film at Kent engages with cinema's rich scope and history, from silent classics and mainstream Hollywood to world cinema and the avant-garde. We have a thriving film culture, with 10-20 films screened on our courses each week, the Gulbenkian Cinema (the regional arts cinema) based on campus and a lively student film society.

Our modules cover film theory, history and practice, from the basics of form and style at Stage 1 to exploring topics including national cinemas, animation, cognition and emotion, fantasy and pulp film. Academic modules can be combined with innovative and creative practical study, including modules such as film criticism.

Religious Studies 

Religious Studies also offers a range of other modules, from biblical study, Hinduism and Buddhism, and Globalisation and religion to name but a few.  Religious Studies also has a student-led Religious Studies society which meets regularly to hold debates, film nights, and social events.

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

Independent rankings

Media and Film Studies at Kent was ranked 3rd in The Guardian University Guide 2017. In the National Student Survey 2016, Cinematics and Photography at Kent was ranked 11th for the quality of teaching.

For graduate prospects, Media and Film Studies at Kent was ranked 5th in The Guardian University Guide 2017.

Religious Studies and Theology at Kent was ranked 14th in The Guardian University Guide 2017 and 19th in The Complete University Guide 2017. In the National Student Survey 2016, 89% of our Religious Studies students were satisfied with the overall quality of their course.

Religious Studies students who graduated from Kent in 2015 were the most successful in the UK in finding work or further study opportunities (DLHE). 

Course structure

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 ‘wild’ modules from other programmes so you can customise your programme and explore other subjects that interest you.

Stage 1

Possible modules may include Credits

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.

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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.

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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.

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The purpose of this module is to introduce students to the Hindu and Buddhist traditions, through a consideration of their key concepts, ideas, texts and practices (such as bhakti, moksha, yoga, dharma). The first half of the module will examine some of the most interesting features of the Vedic and post-Vedic tradition: the Upanishads, the Bhagavad Gita and the polytheism of the Mahabharata. The second half will examine the contrasting philosophical positions of the Theravada and Mahayana Buddhist traditions using materials from the Pali canon and several Sanskrit Sutras. Particular attention will be given to the variety of interpretations of the Buddhist 'No-self' doctrine and concept of enlightenment as well as the meaning and function of the Buddha’s career.

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This course investigates the beliefs and practices of Jews and Muslims in the world today. Topics in Judaism include the life and work of the Patriarchs, the concept of the 'chosen people', the Promised Land, the Torah, synagogue, Jewish festivals and the Jewish home. In the case of Islam, topics include the life and work of Muhammad, the Five Pillars, the Qur'an and Hadith, Sunni and Shi'ite Muslims, Sufism, the Shariah and the Islamic contribution to the arts and sciences.

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This module will introduce students to discussions about the definition of religion and to some of the disciplines in which religion is studied, with special reference to the differences between Theology and Religious Studies. Particular consideration will be given in the initial weeks to the phenomenological approach and to the efficacy of Ninian Smart’s dimensions of religion. In the following weeks, the module will be focused on the comparative study of religion (with reference to Eliade), the sociology of religion (with reference to Durkheim, Weber and Marx) and the psychology of religion (with reference to Otto, James, Freud and Jung). The module will also host a study skills session to be run in conjunction with the Student Learning Advisory Service, the aim of which is to equip students with key study skills in the areas of writing essays, referencing and plagiarism-prevention.

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The Bible is not a single book, but ta biblia, the library. At the most modest estimate, the literatures of the Bible span a period of over eight hundred years. If we think of the metaphor of a library, the books in the Bible would not just be shelved in the Religion/Theology section, but also, say, Philosophy, Politics and Cultural History/Myth. The influence of these books on ‘Western’ culture has been immense. This is a course for those seeking basic biblical ‘literacy’, which is profoundly useful for studies in other disciplines (e.g. History, or Literature), as well as for students in Religious Studies. It is a course for those who think they already know the Bible (this course will help you read the Bible in different ways, with new questions) and those who have never read a Bible at all. The course gives a basic overview of the story and contexts of the books of the Bible (Old Testament/Hebrew Bible and New Testament) from Genesis to the Apocalypse of John, or from Eden to the End of the World.

This course provides a basic introduction to different sections of the biblical ‘library’, combining a general overview with in-depth study of selected passages and books.

NB: As with all Biblical Studies courses at the University of Kent, ‘Bible’ is defined in the broadest sense: the Christian and Jewish canons (73 or 66 books, though we won’t be studying all of them!) apocrypha and pseudepigrapha, and also all the ancient and modern intertexts, poems, films and novels, that inform and draw on biblical traditions.

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This module provides an historical introduction to the philosophical, religious and cultural traditions of South and East Asia. It will provide a foundation for understanding the historical development, key concepts and important practices of the major worldviews of India, China and Japan with specific reference to the Hindu, Buddhist, Confucian, Daoist and Shinto traditions.

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The aim of this module is to introduce students to the study of Christianity, through a consideration of key ideas, texts, symbols, stories, rituals, conflicts and continuities, across contemporary and historical contexts. The course will offer a broad overview of two thousand years of Christian history, and seek to address the question of how the cult surrounding an obscure spiritual teacher from first century Nazareth became the world's largest religion, currently estimated at over two billion adherents. It will address the early church, eastern and western traditions, the medieval church, the Reformation and the relations between Christianity and modernity, as well as focusing on contemporary forms of Christianity, and the rapid growth since the 1970s of churches in the global South. By examining key concepts and practices across a range of historical and contemporary settings, the course will explore how the meaning and significance of these have often been subject to violent contestation, both amongst Christians and in their encounters with other religions. It will therefore encourage students to appreciate how the ideas and convictions that are often used to defend or attack Christianity have themselves been shaped by this history.

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You have the opportunity to select wild modules in this stage

Stage 2

Possible modules may include Credits

This course investigates some major production and aesthetic trends of postwar European cinema. Students are introduced to a selection of European films as well as to the writings of key Continental filmmakers, theorists and critics.

Topics may include: the subjective realisms of the French New Wave and New German Cinema; cycles and trends in European genres, such as the horror film and the western; the aesthetic claims of Italian Neo-Realism and Dogme '95.

These movements will be examined for their claims to interpret the real world, their relationship to films in other national contexts, and also interrogated for the economic and artistic motivations behind their existence as critical categories.

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This course examines the mechanisms and conditions that facilitate and enhance transnational cultural flows. We will study how filmmakers actively franchise, adopt and rework film styles and genres. A genre or style initiated in one country can be quickly adopted in another, with filmmakers tailoring the genre or style to the tastes of local audiences. We will both analyse some of the generic conventions that these films foreground and/or transform and isolate some of the national subtleties that are only discernible to local audiences. As the number of co-productions continues to rise, critics and viewers feel perplexed, and sometimes even amused, in their attempts to discern and identify the nationality of a film. We will critically assess whether any limitations exist embedded in such a co-production strategy, which blurs and obscures the specificities of each nation-state involved. Finally, we will explore whether the changing mediascape – one of transnational, multi-media corporate conglomerate involvement in film production.

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This module will offer students the rare opportunity to examine in detail the work of a single director or a group of directors. It will thus enable students to acquire a more complex understanding of the issues at stake in the production, distribution, and reception of a specific body of film work. The module will also develop students' knowledge and understanding of the questions, theories and controversies, which have informed critical issues and theoretical debates on film authorship. It will thus appeal to students who wish to extend their skills in analysing film form, meaning, and practice in both a conceptual and a historical context. Furthermore, as the module will enable detailed consideration of what 'film directing’ is, as an artistic and cultural practice, in given contexts, it will be a very useful course to combine with the practical study of filmmaking.

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This module addresses a series of documentary films in their historical context and in relation to the different modes of non-fiction filmmaking. Documentary narrative techniques including the use of archival footage, staged reconstructions of past events, and talking-head interviews, are investigated by means of close textual analysis and through a comparative approach to diverse documentary films. This module also explores the boundaries between fiction and non-fiction and, while articulating a definition of documentary film, it studies film forms that present an interplay between the two, such as Mockumentaries and Essay Films.

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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, produced over the last decade. Sound and Cinema will provide an overview of this new 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 (dialogue, voice-over, effects), as well as the nature of the relationship between image and sound. 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, such as Walter Murch and Alan Splet, in contemporary cinema; and the distinctive and innovative use of sound and music by such diverse directors as Wim Wenders, Jean-Luc Godard, David Lynch, and William Raban.

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This module examines types of cinematic practice whose principal labels have been 'experimental', ‘avant-garde’, ‘underground’ and ‘independent’ – terms which overlap but which are by no means synonymous. It is concerned with traditions of cinema which have, more or less self-consciously, formulated radically different aesthetics from those of the orthodox feature film, in which narrative is either radically reshaped, or displaced altogether by other concerns. Throughout, the course will juxtapose films deriving from the historical avant-garde movements (like the European avant-garde of the 20s, or the post-war American scene) along with contemporary exponents of related forms of filmmaking. The first part of the course provides a conceptual and historical overview of avant-garde filmmaking in the C20th; subsequent weeks focus on specific topics, for example collage, landscape, experimental narrative, and the interaction between film, video and the new media.

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This module examines different forms of narrative and storytelling in cinema in order to place film narration within the tradition of the 'popular' arts. Understanding a film involves making sense not only of its story, its events and actions, but also of its storytelling, of the way in which we come to learn of these events and actions. This module examines the ways in which the specific means of representation of cinema transform a showing into a telling. It looks at theories of narrative in literature and film in relation to the different forms of narration and storytelling in cinema, focusing on questions of structure, reliability and temporality. The psychological and aesthetic role of narrative may be explored through a range of theories and analyses from within film studies and from other disciplines such as anthropology, literary studies, psychology and philosophy. The course will be taught through a series of case-studies using a wide range of films within American and world cinema.

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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 student’s 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.

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The aim of this module is to enable students to understand and evaluate the range of models by which film and religion may be employed as conversation partners and to provide them with the tools necessary for exploring critical links between theology/religious studies and the medium of film. The course will begin with an examination of the methodological, conceptual and disciplinary issues that arise before exploring in critical depth the historical relationship between religion and film, with specific reference to the reception (ranging from prohibition to utilisation) of film by different religious groups. There will be a focus on particular categories of film and categories and models of religious and theological understanding, allowing students taking this module to develop the critical skills helpful for film interpretation and for exploring possible religious and theological approaches to film criticism.

Film clips will be used within lectures and will be discussed and unpacked in the seminars.

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The purpose of this module is to survey some of the most significant 20th century trends in the dialogue between psychology and religion through the writings of depth-psychologists, philosophers, theologians, anthropologists and phenomenologists of religion. The module begins by exploring the varieties of religious experience, especially through the work of William James and Rudolf Otto, after which it examines the contributions of psychoanalysis and analytical psychology to the study of religion, particularly in the work of Freud, Jung and Hillman. This material provides the basis for subsequent discussion of the interdisciplinary literature comparing religious altered states of consciousness (mystical, visionary and paranormal experiences) with other altered states of consciousness (madness, drug induced experiences etc.). The module concludes by discussing the principle issues addressed by transpersonal psychology (particularly in the work of Wilber and Grof): the relationship between western psychotherapies and eastern religious disciplines of spiritual emancipation; competing models of spiritual transformation.

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Please note: all Module Handbook information is subject to change pending faculty approval.

• Introduction: studying Christian Ethics

• Christian Ethics: biblical roots

• Christian Ethics: philosophical roots

• Key Christian Thinkers: Augustine

• Key Christian Thinkers: Aquinas and Natural Law

• Key Christian Thinkers: Luther

• Christian Ethics in the 20th century

• Committed Perspectives: Liberation Ethics

• Committed Perspectives: Feminist Ethics

• Tradition Revisited: narrative, pluralism and postmodernity

• Christian Ethics in the Multi-cultural Public Square

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The main emphasis of the course is on identifying the historical development, concepts and practices of key features of Hindu culture. Exploring the distinctive features of Hindu culture and its beliefs and practices, it evaluates the motivating factors and impact that shaped those traditions. Combining historical, textual, doctrinal and anthropological approaches, students are given a multifaceted view of the development of Hindu thought. The course trains students to read Hindu texts in an informed and critical way. Among the themes discussed are: Vedic culture and the transition from ritual forms of religion to philosophical questions and ascetic traditions; Vedantic doctrines of the self, the divine and liberation; socio-religious ideals and ethics associated with dharma; devotional arts and movements associated with particular deities, sampradayas or tantric traditions; different conceptions of the divine; yogic and other practices. These themes will be approached through the study of historical developments and Hindu texts in translation, but attention will also be given to some Sanskrit terminology.

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The aim of this module is to enable students to think sociologically about religious life. Whilst addressing key debates within the sociology of religion (e.g. secularization, subjectivization), it seeks to introduce students to core concepts and methods in sociology that will enable them to understand religious life in terms of broader social structures and processes. Examples of issues covered in the module include: the nature of sociology as a discipline, macro and micro levels of analysis, the agency/structure debate and the nature of social structure, individualization, and sociological perspectives on gender, class, emotion, materiality and belief. The significance of intersectionality between different social structures will also be discussed, and useful sources of secondary data (e.g. BRIN) will be explored. The central assessment task for the module – a case study presenting the sociological analysis of the nature and place of religion in a particular individual's life – brings these theoretical and methodological approaches together into a micro-level analysis of lived religion in a way that is informed by broader social and cultural structures. Examples of good writing in this style of sociological research are presented and explored through the module.

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This module will be divided into two parts. First, it will familiarise students with how Continental philosophy has developed in response to methodological and historical questions. Second, it will then show how Continental philosophy applies to the philosophy of religion by discussing traditional religious problems—e.g., the existence of God, the problem of theodicy, the conception of the good life—and seeing how seminal Continental thinkers engage with these issues in diverse ways. The first part of the module will discuss critical, historical-based methodologies in: philosophical hermeneutics (Gadamer and Ricoeur), phenomenology (Dupré and Marion) and geneaology (Foucault). The second part of the module will utilise contemporary scholarship consisting in contemporary philosophers applying the aforementioned methodological approaches to religious problems.

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This module will explore the theme of ‘Biblical Codes’ from two angles:

1) How has the Bible been read as code?

2) How can we read/ ‘decode’ biblical mysteries (prophecy, apocalyptic, or ‘wisdom’)

Under heading 1) we will be exploring how different writers and groups (some of them inside the Bible, some of them outside it) have read the Bible as temporal or political code. For example, the biblical book of Daniel attempts to decode the book of Jeremiah, which had already become deeply mysterious to ancient readers. Similarly, the New Testament ‘deciphers’ biblical prophecy and motifs by applying them to Jesus or the Roman Empire. At the other end of the time spectrum, we find bestsellers like Michael Drosnin’s The Bible Code (1997), Hal Lindsey and Tim LaHaye’s attempts to decrypt biblical visions of the end of time by way of contemporary global politics, or recent readings of the book of Ezekiel as prophecies about UFO’s. Techniques of decryption are also built into central developments within Jewish and Christian traditions. In fact, what is often called the history of ‘hermeneutics’ could also be described as the history of ‘How not to read literally’. We will be looking at a range of examples of such developments by focusing on readers like Philo of Alexandria, Augustine of Hippo, or Jewish Kabbalah.

Under heading 2, we will undertake some in-depth readings of prophecy, apocalyptic, or wisdom texts—the ones that readers of the Bible find most difficult to ‘decode’. Texts to be studied will be taken from the Old Testament/Hebrew Bible, the New Testament, and the Pseudepigrapha. We will be exploring the contexts that produced these literatures and thinking about how to read (decipher?) them across the abyss of time.

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This module will explore classic philosophical debates and texts (in translation) of the main currents of classical Indian philosophical thought, focusing on Hindu and Buddhist thought but with some reference to traditions such as Jainism. The module explores classic Indian approaches to key philosophical themes such as the nature of truth, the relationship of language and reality, cosmology and theories of causality, the nature of perception, karma and rebirth, debates about the self, the relationship of consciousness and the body, the nature of liberation and valid sources of knowledge.

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This course explores the central teachings, practices and sacred texts of Mahåyåna Buddhism and will focus upon the first 500 years of its history in India. It will examine the rise and development of Mahåyåna Buddhism in India through analysis of its key sacred literature and philosophical schools as well as its subsequent spread to East and North Asia.

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The aim of the course is to provide an understanding of the interrelations between religion, modernity, capitalism and ideology. We will examine classic debates in social theory in relation to Western culture and capitalism, and bring them up to date in relation to contemporary sociological theory and political theology, applying these to examples from Europe, North and Latin America, and Africa. The course will primarily relate to the history of and contemporary Christianity and the birth of capitalism, although students will also have the opportunity to explore these questions in relation to other religions through their own independent research. It will critically explore both left- and right-wing theological models, and seek to deepen understanding of the relationship between religious and spiritual movements and capitalist economics.

The course will prominent debates in the relations between religion, capitalism and economics including: Karl Marx and the Judeo-Christian Tradition; Max Weber and the Protestant Work Ethic; the Social Gospel and Christian Socialism; Colonialism, Christianity and Capitalist Modernities; Neoliberalism and Christianity; Liberation Theologies; and Capitalist Spiritualities.

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This module explores the cultural specificity and diversity of Asian cultures, traditions, social and political systems and literature from a variety of disciplinary perspectives. The topic of Asia will be approached on a thematic basis but with particular emphasis on an understanding of the historical and interpretive challenges to inter-cultural understanding between Asia and Europe/ the West.

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You have the opportunity to select wild modules in this stage

Year abroad

Going abroad as part of your degree is an amazing experience and a chance to develop personally, academically and professionally.  You experience a different culture, gain a new academic perspective, establish international contacts and enhance your employability. 

All students within the Faculty of Humanities can apply to spend a Term or Year Abroad as part of their degree at one of our partner universities in North America, Asia or Europe. You are expected to adhere to any progression requirements including achieving a merit at Stage 1 and Stage 2 to proceed to the Term or Year Abroad. 

The Term or Year abroad is assessed on a pass/fail basis and will not count towards your final degree classification. Places and destination are subject to availability, language and degree programme. To find out more, please see Go Abroad.

Stage 3

Possible modules may include Credits

Students are required to identify a viable research focus or question for their project which they will then pursue, with supervisory support, in order to submit their final dissertation. In the summer before joining the module, students will be given advice on how to identify their research focus, and by the start of the autumn term in which the module begins they will be expected to have produced a single side of A4 summarising key literature or other sources relevant to their specific project. Individual supervision will begin from the autumn term onwards. Initially this is likely to focus on clarifying the research focus or question, and situating it more deeply in existing literature and debates. Following this a clearer outline plan for conducting the research will be developed, with students then undertaking work necessary to meet each phase of this plan. If the project involves original fieldwork, the student will be expected to submit a research ethics application form for Faculty approval. As the project develops, chapter drafts will be submitted for review and discussion with the supervisor. Supervision contact time is likely to vary according to the project and student need, but will not exceed a total of 6 hours per student (including face to face supervision or time spent writing written feedback to electronically-submitted drafts). Supervisors will provide feedback on chapter drafts, which will need to be submitted to supervisors in good time before supervision meetings, but will not provide feedback on whole draft manuscripts once chapters are completed.

Supervisors will only provide supervisory support during term-time. Once the project has been agreed and a supervisor allocated in the autumn term, students will not normally be allowed to change their fundamental focus of their project (although their specific questions are likely to change as the project develops) or change their supervisor unless in highly exceptional circumstances.

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The aim of this module is to enable students to think sociologically about religious life. Whilst addressing key debates within the sociology of religion (e.g. secularization, subjectivization), it seeks to introduce students to core concepts and methods in sociology that will enable them to understand religious life in terms of broader social structures and processes. Examples of issues covered in the module include: the nature of sociology as a discipline, macro and micro levels of analysis, the agency/structure debate and the nature of social structure, individualization, and sociological perspectives on gender, class, emotion, materiality and belief. The significance of intersectionality between different social structures will also be discussed, and useful sources of secondary data (e.g. BRIN) will be explored. The central assessment task for the module – a case study presenting the sociological analysis of the nature and place of religion in a particular individual’s life – brings these theoretical and methodological approaches together into a micro-level analysis of lived religion in a way that is informed by broader social and cultural structures. Examples of good writing in this style of sociological research are presented and explored through the module.

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This module is aimed at those students who would like to follow a career as Primary or Secondary School teachers, but is also suitable to those who would like to combine an academic course with work experience. Placements in a school environment will enhance the students' employment opportunities as they will acquire a range of skills. It will also provide the students with the opportunity to develop their knowledge and understanding of Religious Education and Philosophy in the primary or secondary school context. The university sessions and weekly school work will complement each other. Therefore, attendance to university sessions is crucial as it will also give the students the opportunity to discuss aspects related to their weekly placement and receive guidance. The student will spend one half-day per week for ten weeks in a school where each student will have a designated teacher-mentor who will guide their work in school. They will observe sessions taught by their designated teacher and possibly other teachers. Initially, for these sessions the students will concentrate on specific aspects of the teachers’ tasks, and their approach to teaching a whole class. As they progress, their role will be as teaching assistants, by helping individual pupils who are having difficulties or by working with small groups. They may teach brief or whole sessions with the whole class or with a small group of students where they explain a topic related to the school syllabus. They may also talk about aspects of University life. They must keep a weekly journal reflecting on their activities at their designated school.

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This module will explore the theme of ‘Biblical Codes’ from two angles:

1) How has the Bible been read as code?

2) How can we read/ ‘decode’ biblical mysteries (prophecy, apocalyptic, or ‘wisdom’)

Under heading 1) we will be exploring how different writers and groups (some of them inside the Bible, some of them outside it) have read the Bible as temporal or political code. For example, the biblical book of Daniel attempts to decode the book of Jeremiah, which had already become deeply mysterious to ancient readers. Similarly, the New Testament ‘deciphers’ biblical prophecy and motifs by applying them to Jesus or the Roman Empire. At the other end of the time spectrum, we find bestsellers like Michael Drosnin’s The Bible Code (1997), Hal Lindsey and Tim LaHaye’s attempts to decrypt biblical visions of the end of time by way of contemporary global politics, or recent readings of the book of Ezekiel as prophecies about UFO’s. Techniques of decryption are also built into central developments within Jewish and Christian traditions. In fact, what is often called the history of ‘hermeneutics’ could also be described as the history of ‘How not to read literally’. We will be looking at a range of examples of such developments by focusing on readers like Philo of Alexandria, Augustine of Hippo, or Jewish Kabbalah.

Under heading 2, we will undertake some in-depth readings of prophecy, apocalyptic, or wisdom texts—the ones that readers of the Bible find most difficult to ‘decode’. Texts to be studied will be taken from the Old Testament/Hebrew Bible, the New Testament, and the Pseudepigrapha. We will be exploring the contexts that produced these literatures and thinking about how to read (decipher?) them across the abyss of time.

Read more

The aim of the course is to provide students with an understanding of the history and practice of the anthropology of religion through the past 150 years. Students will explore the ‘anthropology of religion’ to provide an historical and contemporary understanding of how anthropological studies of religion enrich knowledge of what it means to be religious. The course will examine and students will practise the anthropological method of rich participant observation and comparative analysis. Course content focuses on foundational and contemporary issues of religious definition, ritual, belief, embodiment, rationality and relationships in both Western and non-western contexts.

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This module will be divided into two parts. First, it will familiarise students with how Continental philosophy has developed in response to methodological and historical questions. Second, it will then show how Continental philosophy applies to the philosophy of religion by discussing traditional religious problems—e.g., the existence of God, the problem of theodicy, the conception of the good life—and seeing how seminal Continental thinkers engage with these issues in diverse ways. The first part of the module will discuss critical, historical-based methodologies in: philosophical hermeneutics (Gadamer and Ricoeur), phenomenology (Dupré and Marion) and geneaology (Foucault). The second part of the module will utilise contemporary scholarship consisting in contemporary philosophers applying the aforementioned methodological approaches to religious problems.

Read more

The purpose of this module is to survey some of the most significant 20th century trends in the dialogue between psychology and religion through the writings of depth-psychologists, philosophers, theologians, anthropologists and phenomenologists of religion. The module begins by exploring the varieties of religious experience, especially through the work of William James and Rudolf Otto, after which it examines the contributions of psychoanalysis and analytical psychology to the study of religion, particularly in the work of Freud, Jung and Hillman. This material provides the basis for subsequent discussion of the interdisciplinary literature comparing religious altered states of consciousness (mystical, visionary and paranormal experiences) with other altered states of consciousness (madness, drug induced experiences etc.). The module concludes by discussing the principle issues addressed by transpersonal psychology (particularly in the work of Wilber and Grof): the relationship between western psychotherapies and eastern religious disciplines of spiritual emancipation; competing models of spiritual transformation.

Read more

On application, students may take this 30 Credit Year Long module. Admission is subject to approval of a project proposal. Proposals must be submitted to the Module Convenor by 07/04/2017. Within your proposal you must state a preferred supervisor with whom you should have consulted. The proposal form can be downloaded from the School of Arts website, see www.kent.ac.uk/arts/current-students/undergraduates.html and click on module availability. Alternatively you can request a copy at Jarman Reception. The Module Convenor will contact you in the summer term to confirm whether your proposal has been accepted. Students wanting to change into ART500 at a later stage maybe permitted to do so (subject to the suitability of the application and the availability of the supervisor) but should contact the Module Convenor and submit a proposal at the earliest opportunity. Proposals will not be accepted after 12/06/2017 unless there are exceptional circumstances, for which there is a separate procedure and timetable in September. If students wish to make an exceptional application for consideration in September, prior to the start of term, this needs to be submitted through the potential supervisor who will write an accompanying supporting statement. This would need to verify the proposal, confirm supervisory responsibility and endorse the student's ability to complete the project on time. Students should expect to undertake preliminary research over the summer and to see their supervisor before the summer vacation begins. Hence, late applications will only be accepted if supervisors are convinced that students are sufficiently prepared for the independent study and have already undertaken prior research. Applications for consideration as exceptional circumstances in September need to be submitted between 04/09/17 and 18/09/17. Students cannot transfer onto ART 500 after the start of term. For more information please speak to the Module Convenor at the School Fair."

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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.

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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 Exploring the Frame), 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. Skills learnt on the module will contribute (along with Exploring the Frame and Introduction to Screenwriting) to the skills needed to progress to Moving Image Production.

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The module primarily focuses on contemporary digital filmmaking practices and film viewing. The first section of the module introduces trick cinema, special effects, the digital intermediate, and a range of computer generated images to explore the different opportunities these offer for manipulating space, constructing narratives and aesthetic innovation. The second section of the module more explicitly engages with a range of theoretical frameworks in order to think about how digital technologies alter our understanding of film, its relationships with other media, and the ways in which we participate in film culture.

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From the intimate viewing experience offered by mobile phones to the social interaction required by sing-a-long screenings, this module considers the changing nature of where, when and how audiences engage with film and the moving image. It considers the history of cinema-going, paying attention to the old and new sites of exhibition, especially those facilitated by new technologies. Connectedly, the module analyses the different modes of spectatorship, including audience participation and the desire to prolong or enhance the cinematic experience via extra-filmic activities, such as film-tourism. It also considers film's interaction with other arts and media—for example, its use within theatrical performances and its relationship with television. In doing so, this module reflects upon and reconsiders the definitions and limits of cinema and addresses the implications this has for the academic discipline 'Film Studies'.

As part of this course, students will have the opportunity to attend special screenings, participate in field trips and/or watch films unsupervised.

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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.

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You have the opportunity to select wild modules in this stage

Teaching and assessment

Film

All modules involve lectures, small group seminars and film screenings (where relevant). Depending on the modules you select, assessment varies from 100% coursework (extended essays or dissertation), to a combination of examination and coursework.

Religious Studies

You are usually taught in small groups, with most modules involving either two or three hours per week in class, plus individual consultations with teachers as well as sessions on computing and library skills.

Stage 1 modules are normally assessed by 100% coursework. At Stages 2 and 3, some modules are assessed by 100% coursework (such as essays), others by a combination of formal examination and coursework.

Programme aims

For programme aims and learning outcomes please see the programmes specification for each subject below. Please note that outcomes will depend on your specific module selection:

Careers

Film

By studying Film, you learn to think critically and to work independently; your communication skills improve and you learn to express your opinions passionately and persuasively, both in writing and orally. These key transferable skills are essential for graduates as they move into the employment market.

Recent graduates have gone on to careers in film-making, film and television industries, arts organisations, university and school teaching, local government and business, or to pursue postgraduate academic and practical film courses. In the last few years, students have gone on to take up positions such as film journalists, film/TV archivists and roles in marketing and distribution.

Religious Studies

Staff and students within the Religious Studies Department also have an excellent track record of a range of research and consultancy activities with leading international and national organisations, including the United Nations, the British Museum, the British Council and the National Union of Students. This means that people involved in teaching you have a very clear idea of what it means to think about religion in a way that is relevant to organisations outside of the academic world.

As a result of the breadth of the training experience you get through taking a degree in Religious Studies, we find that our graduates go on to a wide range of professions including human resources, journalism and media, law, marketing and public relations, social work, teaching, and work in the voluntary sector.  Many students go onto further study; a Masters or PhD in various subjects, PGCEs, and the Graduate Diploma in Law.

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. 

It is not possible to offer places to all students who meet this typical offer/minimum requirement.

Qualification Typical offer/minimum requirement
A level

AAB

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.

BTEC Level 3 Extended Diploma (formerly BTEC National Diploma)

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.

International Baccalaureate

34 points overall or 16 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.

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 advise 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. 

General entry requirements

Please also see our general entry requirements.

Fees

The 2018/19 entry tuition fees have not yet been set. As a guide only, the 2017/18 tuition fees for this programme are:

UK/EU Overseas
Full-time £9250 £13810
Part-time £4625 £6920

UK/EU fee paying students

The Government has announced changes to allow undergraduate tuition fees to rise in line with inflation from 2017/18.

In accordance with changes announced by the UK Government, we are increasing our 2017/18 regulated full-time tuition fees for new and returning UK/EU fee paying undergraduates from £9,000 to £9,250. The equivalent part-time fees for these courses will also rise from £4,500 to £4,625. This was subject to us satisfying the Government's Teaching Excellence Framework and the access regulator's requirements. This fee will ensure the continued provision of high-quality education.

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

Fees for Year Abroad/Industry

The 2018/19 tuition fees have not yet been set. As a guide only, UK/EU/International students on an approved year abroad for the full 2017/18 academic year pay an annual fee of £1,350 to Kent for that year. Students studying abroad for less than one academic year will pay full fees according to their fee status. 

Please note that for 2017/18 entrants the University will increase the standard year in industry fee for home/EU/international students to £1,350.

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. 

For 2018/19 entry, 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.

Full-time

Part-time

The Key Information Set (KIS) data is compiled by UNISTATS and draws from a variety of sources which includes the National Student Survey and the Higher Education Statistical Agency. The data for assessment and contact hours is compiled from the most populous modules (to the total of 120 credits for an academic session) for this particular degree programme. 

Depending on module selection, there may be some variation between the KIS data and an individual's experience. For further information on how the KIS data is compiled please see the UNISTATS website.

If you have any queries about a particular programme, please contact information@kent.ac.uk.

Related to this course

Film BA (Hons)

Full-time only

Canterbury

Religious Studies BA (Hons)

Full-time or part-time

Canterbury