Students preparing for their graduation ceremony at Canterbury Cathedral

Classical and Archaeological Studies and Film - BA (Hons)

UCAS code QW86

2017

Film at Kent engages with cinema's rich scope and history, from silent classics and mainstream Hollywood, to world cinema and the avant-garde. Classical and Archaeological Studies lets you explore a range of subjects including literature, mythology, drama, archaeology, art and architecture, history, languages and philosophy – and the way these connect in the study of ancient civilisations.

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. 

Our modules cover film theory, history and practice, from the basics of form and style, to exploring topics including national cinemas, animation, cognition and emotion, fantasy and pulp film. You can combine academic modules with innovative and creative practical study, including modules such as Film Criticism. 

We have a thriving film culture, with 10-20 films screened on our courses each week.  The Gulbenkian Cinema (the regional arts cinema) is based on campus and we have a lively student film society. The University also houses a 62-seat cinema (named after the pioneering female film director Ida Lupino), which you can enjoy as part of your studies. The Lupino has state-of-the-art digital projection and sound, and provides an intimate atmosphere for film viewing.

Classical and Archaeological Studies

You can choose from a wide range of Classical and Archaeological Studies modules or you can follow a more specialised pathway, in literature, history or archaeology. You also have the opportunity to learn Latin or Ancient Greek, which are taught at beginners, intermediate and advanced level.

Much of European civilisation grew out of the classical world so it is not surprising that it is still highly relevant today. Canterbury - as a late Iron Age settlement, a Romano-British city, an Anglo-Saxon town, and a centre of early Christianity - is a good base for studying different cultures, with visits to local sites and museums, as well as London museums, and opportunities for archaeological fieldwork both locally and further afield.

Independent rankings

Classics and Ancient History at Kent was ranked 7th overall in The Guardian University Guide 2017 and 9th for student satisfaction in The Complete University Guide 2017. In the National Student Survey 2016, 87% of our Classics students were satisfied with the quality of teaching.

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.

Classics and Archaeology students who graduated from Kent in 2015 were the most successful in the UK at finding work or further study opportunities (DLHE). For graduate prospects, Media and Film Studies at Kent was ranked 5th in The Guardian University Guide 2017.

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

Modules may include Credits

The module will introduce archaeology as an academic discipline, providing grounding in basic concepts and methodology and techniques of analysis relating to archaeological evidence. It will provide background relevant to other archaeological and historical modules through examining aspects of the archaeological process in prehistoric, Roman and medieval contexts. It will enable students to make an informed choice of subsequent modules. Topics will include basic fieldwork methods and techniques, and an introduction to key topics in interpretation, such as society and culture, ritual and religion, technology, etc. through case studies e.g . of Pompeii, Sutton Hoo, and the Ice Man.

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The history will centre on Athens in the 5th century B.C. We begin with Solon's reforms, then after considering the period of the Persian invasions we study the developed democracy with its empire under Pericles and its destruction in the Peloponnesian War. After 5 weeks, we move to the literature of the period, more specifically, the development of tragedy and comedy in fifth-century Athens, examining staging and dramatic conventions such as the role of actor, chorus and religious function and plot, especially the handling of mythological themes. We will analyse a selection of major plays by Aeschylus, Sophocles, Euripides and Aristophanes. Within this framework the module explores the role of tragedy and comedy as vehicles for public debate in the democracy, and its treatment of justice, religion, rationalism and patriotic themes.

In the Roman part of the course we shall treat the last century of the republic. Our focus will be on how that republic fell and was replaced by the empire whose founder was Augustus. Among the themes examined will be political violence, the intrusion of the army into political life and the rise of the warlord. In the literature part of the Spring term the module is concerned with the patronage of the arts (poetry, history writing, art and architecture) under Augustus, with the role of the arts as propaganda, and the thesis that writers were recruited to act as spokesmen for the policies and ideals of the principate. The central theme is the creation of enduring images of Rome and Empire, using traditional historical and mythological materials; alongside this the module treats areas of public policy such as moral legislation, festivals, religious reform and the position of women. The module is also concerned with the responses of the writers, whether as supporters of public policy, or as commenting on and reacting against it. Thus, its content is much better understood as a result of the historical development outlined in the first part of term.

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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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You have the opportunity to select wild modules in this stage

Stage 2

Modules may include Credits

The art historian Aby Warburg – an avid reader of Thomas Carlyle's philosophical novel about clothes Sartor Resartus (1836) – said that a good costume, like a good symbol, should conceal as much as it reveals. This module will take an interdisciplinary approach to the study of costume and fashion – the art that can be worn – in order to explore their roles in drama, film and the visual arts. The social values encoded by clothes, their relation to class or sexual identity, will be discussed, along with how these assumptions inform the use of costume in adaptations or stagings of texts, or how they colour our view of a character, or of a director’s interpretation (for example, using deliberate anachronism). The role of clothing and costume in the history of art will be analysed from artists’ representation of clothes, contemporary or otherwise, to their involvement in fashion design.

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The module is organised around the concept of the "New Hollywood Cinema of the 1970s," and structured through three blocks of inter-related screenings. The first block examines American genre filmmaking (the Western, the hard-boiled detective, and the gangster film, etc.), the second block looks at the road-movie, and the third considers representations of the city.

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In a country with a very strong literary and theatrical tradition, the British have also had a long-standing love of "going to the pictures." For more than a century, British filmmakers have been forging a rich and diverse national cinema in the face of Hollywood's dominance on British screens for most of that time. This course will offer an introductory historical overview of British cinema from its beginnings to the present day, assessing its role in the construction of British national identity, evaluating its major directors—including Carol Reed, Humphrey Jennings, Ken Loach, Mike Leigh and Terrence Davies. The films will be approached through multiple frameworks, including consideration of aesthetics (e.g. the question of realism), culture (e.g. gender and class), and history (e.g. questions of empire and modernity). The institution of cinema and film culture in a larger sense will be considered through the exploration of British film exhibition, criticism, cultural policy, and industry. Both fiction films and documentaries will be addressed with a particular focus on the urban experience. The cinematic city – London, in particular – will be discussed in relation to issues of memory and historicity.

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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.

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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 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 Marxist, psychoanalytical, feminist, and reception theories. 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 gender politics, representations of sexuality, and political commentary and allegory.

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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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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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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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The proliferation of mobile devices and the rise of online video have had a transformative effect on how moving images are generated and experienced. The ease with which we can now create and share video has impacted on how films are made, by whom, on how they are distributed, and even on what film itself is. This module explores some of the many new forms of 'filmmaking' that have appeared as a result of this technological and cultural change, and encourages students to engage with these forms critically and creatively. Areas of focus may include vlogs, mashups, video essays, music promos, interactive videos, travelogues, short fiction and other forms of film and video aimed primarily at online distribution via platforms such as YouTube and Vimeo. Students will create short works in one or more of these forms, and have the opportunity to harness the potential of mobile devices and social media for artistic ends. Practical work will be contextualised by an essay that situates students’ video exercises within the broader context of digital technologies and online culture.

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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.

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This module examines in detail the history of the Roman Empire from the commencement of the principate of Trajan in AD97to the conversion of the Emperor Constantine I in AD 312, and provides both a survey of a major period of Roman imperial history and an opportunity to study in greater depth the administrative, social, economic and religious developments of this period. Students will read widely in the ancient sources, historical, literary and documentary, and will be introduced to the inscriptional evidence for imperial history. The module forms a key element in the sequence of survey courses on Roman history and has links with Christianity in the Roman World and Roman Britain. This module will concentrate on the main administrative, social, economic and religious developments throughout the period rather than on the details of political and military history.

Students will read widely in the major ancient sources, including Pliny, Suetonius and the

Scriptores Historiae Augustae, and will be introduced to the inscriptional and documentary

evidence for imperial history

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This module is designed to give students a thorough introduction to a well-studied aspect of Greek archaeology, that of its Art and Architecture. The class will begin with examinations into the Greek Bronze Age by looking at Minoan and Mycenaean archaeology, followed by the art and architecture of the Iron Age. It will then focus on the archaeology of the Archaic, Classical (early to late) and culminate with the Hellenistic periods. The main areas of Greek occupation will be studied: mainland Greece, the Greek Islands, Asia Minor, Southern Italy and Sicily, with concentration on major sites such as the Athenian Acropolis and Agora, Corinth, Ephesus and Syracuse.. Religion is important for an understanding of the Greek world, so sanctuaries such as the sites of Delphi and Olympia will be explored and juxtaposed with smaller ones like Brauron and Sounion. Throughout the class, the styles, development and changes to the art and architecture will be studied, but also questions will be raised about the cultural view of the remains This is important for understanding the role the sites and artistic work played in Greek societies. Moreover, the historical events of specific periods will be explored to see what significance and influence they played on artistic and architectural styles, as well as patronage. The class will, therefore, supply students with a thorough grounding in the multiple issues raised by the study of Greek art and architecture.

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The course provides an introduction to the study of Roman art and architecture, including the close interpretation of works of art and buildings, and an investigation of the role of art and architecture within the wider Roman world. The geographical area covered will include both Rome and Italy, and provincial Roman sites and material. Aspects to be examined include context, dating, technique, styles and subject matter, and ideology including the role played by art in Roman society. Arranged broadly in chronological order, from the Republican to the late Roman period, the course gives an overview of the varied media and techniques used in Roman art and architecture and the changes in art style that occurred throughout the Roman period.

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This module is an introduction to ancient Greek religion and Mystery cults. The module will offer an introduction to the major gods and goddesses of ancient Greece, spheres of influence, character, relationships, exploits, and worship. It is concerned with the analysis of religious festivals, cults, beliefs, and the development of religious architecture. The module will additionally briefly contrast Greek religion to Christianity, as an example of investigating how Greek religion differs from, and resembles, modern religions. The materials of the course are drawn from the ancient Greeks themselves from archaeology, Greek poets, artists, playwrights, mythographers, and philosophers from the 10th–2nd centuries BC.

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How did the Western Roman Empire undergo its transformation into the early medieval world? This course provides an overview of the period between 400 and 600 A.D., in particular, examining the collision between barbarian and Roman in late Antiquity and the development of the post-Roman and early medieval West, focusing on changes in culture and society through a critical evaluation of evidence from history, art, architecture and archaeology. There will be a focus on Italy, France and Britain which is intended to 1) provide a manageable and structured course at an appropriate level of detail, with the potential for some depth of analysis, and 2) concentrate on those geographical areas which mesh closely with the subject matter of other courses in Roman archaeology and late Antique and medieval history offered by colleagues in the Classical and Archaeological Studies and History departments.

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This course will survey the evolution of the Mediterranean city from AD 300 to 650, the urban crisis which followed, and the direction which urban life took thereafter. City life in this period was until recently poorly understood, hindered by the prejudices of classical archaeologists, who removed late levels without record, and the selective interests of Christian archaeologists who concentrated on churches. Now new archaeological fieldwork has revealed much greater complexity, from urban collapse in the West to the flourishing cities of the 6th c. East, which provided a foundation for much of Early Islamic urbanism. Although north-west Europe is included, the main focus is the Mediterranean, where urban life was strongest, throughout the period. Lectures will explore both thematic and regional syntheses, with a major distinction drawn, not between a Greek East and a Latin West, but between a Mediterranean core and a northern periphery. An attempt will be made to link changes in the physical appearance of cities to wider events and processes: whether military, political, religious or economic in character. Seminars will explore aspects of the rich source material available, whether drawn from architectural remains, stratigraphic archaeology, epigraphy, or selected written sources of the period.

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This module will provide a credit framework for fieldwork training undertaken on University of Kent training excavations, or approved partners, normally supported by a SECL archaeological fieldwork bursary, to assist with the costs involved in a participation of 15 working days. The module will permit three alternative pathways, in excavation, survey or museum studies. Assessment will be in the form of an illustrated portfolio featuring a description of the project and an account of each type of work undertaken by the student. Project directors will be provided with a checklist of fieldwork tasks to be completed, of which a minimum number will be mandatory. Students who have no prior experience of fieldwork will likely be accommodated on a project in the UK, whilst those who are experienced may be offered a place on an excavation abroad. Skills assessed will range from efficient manual digging and artefact washing to site / find drawing or photography and the completing of pro-forma record sheets.

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The module is intended to give students an introduction to the literature of early Christianity.

A variety of texts will be read – the gospels, apocryphal gospels, early martyrdom texts, edifying tales and hagiography - to show the variety of genres that existed and the intertextual fluidity of these genres. The texts will be contextualised against the historical developments of the Roman Empire. Social and cultural issues will also be raised, such as the new roles of women and men in an emerging Christian world and the concepts of pain, sacrifice, authority, virginity and asceticism will be examined.

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The module will allow the student to acquire knowledge and critical understanding of the fundamental principles related to collecting and interpreting objects within museums and managing these institutions. .Students will be required to become familiar and engage critically, during the seminars, with the key references on these topics. Students will then be required to apply concepts and principles learnt in class in the context of their internship.. As part of their internship, each student will devise a special project in consultation with the mentor and the module convenor. Precise objectives and skills to be learnt will be recorded and tracked regularly. Students will keep a weekly log of their activities. The placement may take place either as a block during the Easter vacation of Stage 2 or 3, or at regular intervals over the Autumn and Spring terms.

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This module examines, in detail, Greek history from the end of the Persian invasions to the fall of Athens in 404 BC. The main themes of the module are the rise and fall of the power of Athens, the Peloponnesian War and the role of the Persian Empire in Greek history in the 5th century BC. Particular attention will be paid to the causes of the conflict between Athens and Sparta and to the political and military history of the last three decades of the 5th century BC.

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This module provides an introduction to some of the major works in ancient Greek philosophy in relation to ethics, aesthetics, political theory, ontology and metaphysics. Students will study substantial portions of primary texts by the Pre-Socratics, Plato and Aristotle. The emphasis throughout will be on the philosophical significance of the ideas studied. The module will concentrate on understanding key philosophical arguments and concepts within the context of the ancient Greek intellectual tradition. This means that students will gain a critical distance from normative and modern definitions of philosophical terms in order to understand how Greek philosophy generally approached questions and problems with different suppositions and conceptions of reality, reason and the purpose of human existence.

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This module explores 5th-century Athenian history through the plays which were put on stage during this period of war and political upheaval. Greek tragedies and comedies produced during this tumultuous period (472-405 BC) offer us some of the most enticing, yet challenging, evidence for the state of Athenian politics and attitudes to contemporary events (especially war and empire). In this module, the evidence of key plays will be set against other forms of historical evidence to illuminate the complex relationship between the types of evidence which survive and the nature of 'making history'.

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Students will participate in the close reading and interpretation of Greek prose texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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Students will participate in the close reading and interpretation of Greek verse texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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Virgil composed the Aeneid in order to provide Rome with an epic equal to any that Homer produced. Commonly regarded as one the greatest epics of the ancient world, the Aeneid is the story of the foundation of Rome; a tale of exile, war, passionate love and the deepest humanity. We will analyse, comment on and explore the epic, book by book. This will be intertwined with a thematic approach, investigating issues concerning the gods, fate, morality, art and gender.

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This module examines in detail the history of the Roman Republic from 350 BC through to 100 BC, and provides both a survey of a major period of Roman history and an opportunity to study in greater depth the political, social, and economic consequences of the development of Rome's imperial ambitions in the Mediterranean. Students will read widely in the ancient sources, historical, literary and documentary.

Students will read widely from a range of works including: Polybius, Plutarch, Livy, Appian, Cicero, and Sallust.

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Students will participate in the close reading and interpretation of Latin prose texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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Students will participate in the close reading and interpretation of Latin verse texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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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.

You can apply to add a Year Abroad to your degree programme from your arrival at Kent until the autumn term of your second year.  The Year Abroad takes place between Stages 2 and 3 at one of our partner universities.  Places and destination are subject to availability, language and degree programme.  For a full list, please see Go Abroad.

You are expected to adhere to any academic progression requirements in Stages 1 and 2 to proceed to the Year Abroad.  The Year Abroad is assessed on a pass/fail basis and will not count towards your final degree classification.

Stage 3

Modules may include Credits

This module will investigate "the Gothic" as a significant and recurring cycle within Hollywood film with recognisable tropes and themes, and a dominant tone and style. Beginning with the 1940s cycle of “Women's Gothic” which emerged at the same time as Film Noir, and visually and thematically overlapped with it, the module will explore the particularly filmic ways that such texts manage to evoke the menacing atmosphere and the tone of sexualised danger and suspense achieved by the Gothic’s source novels and short stories. Continuing from the original cycle of films, the module will examine later Hollywood films that have employed the themes and imagery of the Gothic to tap into similar complex anxieties and desires, before inspecting films from other cinemas (for example, those of Europe or Asia) which also make use of the dominant Gothic tropes.

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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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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.

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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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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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This module examines the creative critical turn made by artists and theorists when engaging with mass culture's quotidian productions. It examines such iterations of this turn as found in the surrealist's play with the violent poetics of arch-criminal mastermind Fantômas and the oneirism of film noir; the Nouvelle Vague’s validation of American hard-boiled fiction and crime films, particularly Kiss Me Deadly; Fritz Lang’s pulp fantasies of criminal conspiracies in his Dr. Mabuse series; abstract painter and film critic Manny Farber's theory of termite art and the art brut style of Samuel Fuller; and film critic Parker Tyler’s configuration of a camp aesthetic. These are all versions of the modernist intervention into the world of commodified culture – transformations of mass cultural artefacts into art through critique.

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

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This module examines the way New York has been used as a site for filmmaking, looking at the history of the production of films in and about the city, and as a vital centre of film culture -- not just of filmmaking, but also exhibition and film criticism. The module considers questions of modernity, the avant-garde practice in New York during the 1950s and 60s, and the city's representation in mainstream Hollywood productions. The work on New York and film will be contextualised within a cultural history of the city, with a dual emphasis on narratives of immigration and the city as the post-war centre of the world art market.

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Films in certain genres, such as the Western, action film and martial arts film, are often gendered masculine, their powerful, active and typically violent male protagonists seen as representing masculinity. There is, however, also a long tradition of transgressive female protagonists in "male" genres, and this module investigates such characters. In addition to giving an overview of various types of transgressive female protagonists, the module explores in depth one or a few type(s) of transgressive female protagonist depending on the convenor's research interests. Case studies may include American action film, martial arts film, Blaxploitation/exploitation film, rape-revenge film, Western, crime film/television, film noir and horror in film and television. For example, in the action film the female protagonist’s display of power and strength may be seen as masculine, but she is often also portrayed with stereotypically feminine traits such as beauty and a sexy appearance. The female protagonist is thus often perceived as standing between the masculine and the feminine. Among the many questions triggered by transgressive female protagonists, this module might explore whether this character can and should be perceived as feminist or merely as exploitative, and how and why such protagonists may appeal to a female audience in particular.

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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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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. For further information please talk to the module convenor at the School of Arts Module Fair.

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Students will participate in the close reading and interpretation of Latin verse texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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This module gives students the opportunity to apply the knowledge they have obtained in their Classical and Archaeological Degree to a work-place situation. It will enhance the student experience and allow them to take responsibility for their learning and development. In addition, it will give the students work experience which enhances their employability and improves their CV.

The students will spend two hours per week in seminar learning about pedagogic processes, including: learning from experience as a student, developing good teaching practice, theories of learning and teaching; the use of different teaching materials including technology; lesson planning and development of personal style; assessment criteria and feedback techniques; communication and motivational skills; self and peer evaluation.

They will also spend one half-day per week for ten weeks in a primary or secondary school. They will observe sessions taught by their designated teacher and possibly other teachers. Later they will act somewhat in the role of a teaching assistant, working with small groups, and delivering material relevant to the programme. They will keep a weekly online journal reflecting on their activities at their designated school. 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 to receive guidance.

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This module examines in detail the history of the Roman Republic from 350 BC through to 100 BC, and provides both a survey of a major period of Roman history and an opportunity to study in greater depth the political, social, and economic consequences of the development of Rome's imperial ambitions in the Mediterranean. Students will read widely in the ancient sources, historical, literary and documentary.

Students will read widely from a range of works including: Polybius, Plutarch, Livy, Appian, Cicero, and Sallust.

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Students will participate in the close reading and interpretation of Greek verse texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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Students will participate in the close reading and interpretation of Greek prose texts. Translation of the text(s) from the original will enhance understanding of its construction by the author(s) and invite reflection on the use of stylistic and linguistic features (and their effect). This understanding may be further developed through the study of the literary and cultural context within which the text was produced.

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This module explores 5th-century Athenian history through the plays which were put on stage during this period of war and political upheaval. Greek tragedies and comedies produced during this tumultuous period (472-405 BC) offer us some of the most enticing, yet challenging, evidence for the state of Athenian politics and attitudes to contemporary events (especially war and empire). In this module, the evidence of key plays will be set against other forms of historical evidence to illuminate the complex relationship between the types of evidence which survive and the nature of 'making history'.

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This module provides an introduction to some of the major works in ancient Greek philosophy in relation to ethics, aesthetics, political theory, ontology and metaphysics. Students will study substantial portions of primary texts by the Pre-Socratics, Plato and Aristotle. The emphasis throughout will be on the philosophical significance of the ideas studied. The module will concentrate on understanding key philosophical arguments and concepts within the context of the ancient Greek intellectual tradition. This means that students will gain a critical distance from normative and modern definitions of philosophical terms in order to understand how Greek philosophy generally approached questions and problems with different suppositions and conceptions of reality, reason and the purpose of human existence.

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This module examines, in detail, Greek history from the end of the Persian invasions to the fall of Athens in 404 BC. The main themes of the module are the rise and fall of the power of Athens, the Peloponnesian War and the role of the Persian Empire in Greek history in the 5th century BC. Particular attention will be paid to the causes of the conflict between Athens and Sparta and to the political and military history of the last three decades of the 5th century BC.

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The module will allow the student to acquire knowledge and critical understanding of the fundamental principles related to collecting and interpreting objects within museums and managing these institutions. .Students will be required to become familiar and engage critically, during the seminars, with the key references on these topics. Students will then be required to apply concepts and principles learnt in class in the context of their internship.. As part of their internship, each student will devise a special project in consultation with the mentor and the module convenor. Precise objectives and skills to be learnt will be recorded and tracked regularly. Students will keep a weekly log of their activities. The placement may take place either as a block during the Easter vacation of Stage 2 or 3, or at regular intervals over the Autumn and Spring terms.

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The module is intended to give students an introduction to the literature of early Christianity.

A variety of texts will be read – the gospels, apocryphal gospels, early martyrdom texts, edifying tales and hagiography - to show the variety of genres that existed and the intertextual fluidity of these genres. The texts will be contextualised against the historical developments of the Roman Empire. Social and cultural issues will also be raised, such as the new roles of women and men in an emerging Christian world and the concepts of pain, sacrifice, authority, virginity and asceticism will be examined.

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This course will survey the evolution of the Mediterranean city from AD 300 to 650, the urban crisis which followed, and the direction which urban life took thereafter. City life in this period was until recently poorly understood, hindered by the prejudices of classical archaeologists, who removed late levels without record, and the selective interests of Christian archaeologists who concentrated on churches. Now new archaeological fieldwork has revealed much greater complexity, from urban collapse in the West to the flourishing cities of the 6th c. East, which provided a foundation for much of Early Islamic urbanism. Although north-west Europe is included, the main focus is the Mediterranean, where urban life was strongest, throughout the period. Lectures will explore both thematic and regional syntheses, with a major distinction drawn, not between a Greek East and a Latin West, but between a Mediterranean core and a northern periphery. An attempt will be made to link changes in the physical appearance of cities to wider events and processes: whether military, political, religious or economic in character. Seminars will explore aspects of the rich source material available, whether drawn from architectural remains, stratigraphic archaeology, epigraphy, or selected written sources of the period.

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Virgil composed the Aeneid in order to provide Rome with an epic equal to any that Homer produced. Commonly regarded as one the greatest epics of the ancient world, the Aeneid is the story of the foundation of Rome; a tale of exile, war, passionate love and the deepest humanity. We will analyse, comment on and explore the epic, book by book. This will be intertwined with a thematic approach, investigating issues concerning the gods, fate, morality, art and gender.

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Across much of Britain by the Late Bronze Age (from c. 1000 BC) economic and social organisation was beginning to assume forms which provided the foundations for subsequent fundamental transformations seen through the First Millennium BC: in population, in agriculture, in technology, in land holding and power and cultural forms. The period saw the emergence of technologies, manufacturing and craft skills, social structures and belief systems, husbandry and movement of enduring influence. The unfolding of this formative period, with its efficiently managed landscape dotted with farmsteads and hillforts, lavish metalwork and occasionally exotic burials, and its fluctuating and enigmatic relationships with mainland Europe, is accessible mostly through archaeological study alone: and what a rich resource that has proved to be, especially through recent studies and techniques. Only at the very end does limited historical information become available when we are told of the presence of chariot borne warriors, kings, queens and Druids. The module spans the late Bronze and Iron Ages, presenting the often dramatic and striking archaeological and historical data within current interpretative frameworks. All parts of the British Isles come into focus. Settlements, burials, material culture, environmental remains and monuments are explored revealing a richly nuaned matrix of cultural evidence which inspires interrogation and interpretation.

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How did the Western Roman Empire undergo its transformation into the early medieval world? This course provides an overview of the period between 400 and 600 A.D., in particular, examining the collision between barbarian and Roman in late Antiquity and the development of the post-Roman and early medieval West, focusing on changes in culture and society through a critical evaluation of evidence from history, art, architecture and archaeology. There will be a focus on Italy, France and Britain which is intended to 1) provide a manageable and structured course at an appropriate level of detail, with the potential for some depth of analysis, and 2) concentrate on those geographical areas which mesh closely with the subject matter of other courses in Roman archaeology and late Antique and medieval history offered by colleagues in the Classical and Archaeological Studies and History departments.

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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.

Classical & Archaeological Studies

All modules have a weekly seminar, and most also have weekly lectures. Archaeology modules sometimes include museum and site visits. We encourage students to take part in excavations and surveys with staff and associated institutions, and student bursaries are available to support this.

Assessment at all stages varies from 100% coursework to a combination of 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

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.

Classical & Archaeological Studies

Classical and Archaeological studies students go on to a wide range of careers, so here at Kent we try to provide a wide variety of careers and employability support and guidance.  A number of work placements for Classics and Archaeology students have been set up as part of our internship module.  These include placements at Dover Museum, County Hall, Brentwood Cathedral and the Victoria and Albert Museum.

Possible careers include archaeology, the heritage industry, museums, business, journalism, the civil service, computing, media, librarianship and teaching. Graduates also choose to pursue further academic study.

Entry requirements

Home/EU students

The University will consider applications from students offering a wide range of qualifications. 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.

New GCSE grades

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

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 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.* 

The University will assess your fee status as part of the application process. If you are uncertain about your fee status you may wish to seek advice from UKCISA before applying.

Fees for Year Abroad/Industry

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.

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.

The Government has confirmed that EU students applying for university places in the 2017 to 2018 academic year will still have access to student funding support for the duration of their course.

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.

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.