Students preparing for their graduation ceremony at Canterbury Cathedral

Classical and Archaeological Studies and Film - BA (Hons)

UCAS code QW86

2019

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

Of Classics students who graduated from Kent in 2017 and completed a national survey, over 92% were in work or further study within six months (DLHE).

Drama and Cinematics at Kent scored 94.7 out of 100 in The Complete University Guide 2019 and Media and Film Studies was ranked 10th in The Guardian University Guide 2019.

Teaching Excellence Framework

Based on the evidence available, the TEF Panel judged that the University of Kent delivers consistently outstanding teaching, learning and outcomes for its students. It is of the highest quality found in the UK.

Please see the University of Kent's Statement of Findings for more information.

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

Stage 1

Compulsory modules currently 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 in the Classical & Archaeological Studies and related programmes, through examining aspects of the archaeological process and examples in prehistoric, Roman, medieval and post-medieval contexts. It will enable students to make an informed choice of subsequent modules. Topics will include ceremonial, religious and burial sites, the emergence of settlement sites, the creation and development of towns, trade and exchange, artefactual and landscape studies using cases through time. Seminars will focus on methods and approaches, and the presentation of data and its interpretation.

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The history will centre on Athens in the 5th century B.C. We begin with early Athens, 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 looking at the historical events of this period, we study a range of Greek literature. You will be introduced to the different literary genres of the time, including tragedy and comedy, and will be asked to consider the role of literature as a vehicle for public debate in the democracy, and its treatment of justice, religion, rationalism and patriotic themes.

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In this module, we shall begin by examining the history of the last century of the Roman 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. The second half of 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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Optional modules may include Credits

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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This module will introduce the archaeology of the city of Canterbury and its environs, and the skills needed to study it. The course will review the subject both chronologically, from Bronze Age to 1945, and methodologically, covering non-invasive research methods and techniques used to communicate heritage. It will provide deep knowledge and understanding of the immediate environment of Canterbury and East Kent, and equip students with skills that they need to pursue further interests in archaeology. It will allow students to access the archaeological resources of Canterbury that are on their doorstep and position them well to study local landscape history, built archaeology, or museum collections, in preparation for the archaeological project or dissertation modules. Lectures will describe a full range of local archaeology, including Thanet Sacred Island, Bigbury Hillfort, the Saxon Shore, Excavations in Canterbury City, Canterbury Cathedral, and Medieval Vernacular Architecture. Seminars will equip students to understand research methods relating to Sites and Monuments records, LIDAR and earthwork survey, local museum collections, urban excavation reports, standing building remains, historic maps, and aerial photos. The module also introduces students to Canterbury as a world heritage site.

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Whether cruel or funny, hostile speech has a pervasive presence in the wealth of textual evidence from classical antiquity. Insulting communications, both formal and informal, reveal social values in an unusually succinct way, while their dependence on situation and context presents complex interpretative challenges.

In this module, insults form the basis for a wide-ranging investigation of classical literature inviting comparison of their literary treatment in different works and/or genres. The module is designed to accommodate various selections of material, which may include Greek literature, Roman literature, or a combination of both. It provides a variety of examples of invective to show the diversity of classical literature and, through the analysis of these examples, raise current debates in classical literary studies. So, for example, the insults found in Catullus may be used to explore the issue of authorial persona and 'sincerity'. Topics covered may include obscenity, debate and competition, laws governing slander and treason, the aesthetics of beauty and ugliness, construction of social categorisations (gender, sexuality, ethnicity, and status), and the conventions of specific genres.

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You have the opportunity to select elective modules in this stage

Stage 2

Optional modules may include Credits

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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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.

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The module will focus on postwar American cinema. The cinema of the period will be placed within the historical, cultural, political and artistic developments taking place around it. Students will be encouraged to explore the generative relationships between cinema and these other phenomena. Topics to be discussed will include (but are not limited to) cinema and the Vietnam War, Watergate, the birth of American performance art, rise in popular culture, the influence of European art cinema, the growth of American independent filmmaking. Films will be chosen from those made inside and on the edges of Hollywood (Independent and avant-garde).

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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 traditionally employed methods to study the genre in question (for example, psychoanalytical, postmodern or cognitive theory). The historical portion of the course examines the genre's growing commercial viability, the proliferation of subgenres, and the growing attention of academics. Topics include, but are not restricted to, gender politics, representations of sexuality, political commentary, allegory.

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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 Twentieth Century; 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 students uncover their creative voice. This module does not aim to provide vocational training for students wishing to pursue careers in the feature film or television industries.

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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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This module will look at disability in the arts, covering theatre, film and visual art. The students will engage with the historical representation of disability within the arts and the way in which disability scholars have critically engaged with it. The students will also look at arts institutions (i.e. theatres, cinemas and galleries) and the disabling barriers within those institutions that prevent the full participation of people with impairments in the arts. This will culminate in an 'accessibility review', whereby the students analyse the adjustments made by arts institutions for people with impairments and the extent to which they are effective. Finally, the students will engage with examples of contemporary disabled artists whose impairments informs the aesthetic qualities of their work.

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This is a practice-based module exploring the photographic medium and the contexts of its use through the production of photographs in response to a project brief and group-based critical discussion of the work produced. Students investigate how the context in which photographs are made affect how the world is represented, and how in turn these images shape perception. Students choose three practical project briefs that are designed to enable them to explore the medium creatively and through informed and reflective practice. The emphasis of the module is upon this creative practice rather than the acquisition of specific technical skills, and as such students are at liberty to use any photographic production and post-production technologies they wish to experiment with or find appropriate. A camera phone and access to a computer and printer are all that is needed for this module, though students who wish to make use of digital image processing or analogue processes, including use of a darkroom, are encouraged to do so. Each of the practical project briefs will be supported through a series of lectures closely examining various genres, styles and other contexts of photographic production through the work of those who have shaped them. In addition students will present the work they have produced in response to their project briefs, and engage in a broad critical discussion or their own and other's work.

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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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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 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 examines in detail the history of the Roman Empire from the death of the last Flavian emperor (96 CE) to Constantine's establishment as sole emperor in 324 CE. It thus 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, numismatic, and papyrological evidence for imperial history. 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, Dio Cassius, Herodian, and the Historia Augusta. Students will also get experience in working with the documentary evidence for imperial history, including inscriptions, coins, papyri, as well as legal sources.

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The module examines the Iron Age peoples of temperate Europe, their ways and means of living combining the archaeological, artefactual and historic sources of evidence. This was the era of the proto-historic Celts: farmers, crafts people and warriors. Peoples described as Celts sacked Rome in the early fourth century BC; they probably ravaged Delphi towards the mid third century BC; and from the later second century BC they were in conflict with the expanding Roman Empire, ultimately becoming the majority of its subjects in the West. The intent of this module is to search for the Iron Age Celts of Antiquity... but participants should not embark on the study with the certain expectation that they will be found! For long interpreted within a largely Classically-derived pan European model, the archaeological evidence is now increasingly discussed in ways which emphasise the diversity rather than the uniformity of life and culture across west/central Europe during the centuries in which the Classical World was in contact with those whom it identified as Celts.

The module will critically evaluate the evidence for the pre/proto historic Celts derived from the Classical writers, the concept of a widespread European Celtic culture in antiquity, and the contrasting interpretations which can be generated by the archaeological evidence for the conventional pre Roman Iron Age in temperate Europe. The Iron Age of temperate Europe presents a rich array of burials, finely crafted metalwork, settlements, hillforts, ritual, religious manifestations, artefacts and environmental remains plus evidence of travel, trade, contact and warfare both within its realms and with the Mediterranean peoples: all these elements form curriculum subjects via study, characterisation and contextualisation.

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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 300 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 University.

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Ancient medicine was a complex mixture of what we would consider 'rational' and 'irrational' ideas and practices for the causes and cures of disease and illness. In this module students will use the various sources of evidence that survive in the literary, archaeological and epigraphic record to learn about the subject of Greek and Roman medicine.

An historical approach will be used starting with an examination of the pre-Socratic philosophers' and Hippocratic writers’ ideas about the body and medicine, moving into the Hellenistic period examining the dissections and vivisections of Herophilus and Erasistratus. The archaeological material from Greek healing sanctuaries will add to the understanding of healing. For the Roman period questions will be addressed about the influence of Greek medicine on Roman medicine and the archaeological remains of instruments and buildings associated with healing, such as baths, sanctuaries and possible hospitals. The works of Celsus, Pliny the Elder and Galen will be examined. The module culminates in a review of the survival of medical practices into Late Antiquity and the medieval Islamic period. Throughout the class, students will examine ideas about rationality and medical influences from one society to another.

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This course will survey the evolution of the Mediterranean city from AD 300 to 650, the urban crisis that 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 sixth century East, which provided a foundation for much of Early Islamic urbanism.

Although north-west Europe is included, the Mediterranean is the predominantly the focus of this module 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 framework for fieldwork training undertaken on University of Kent training excavations, or approved partners, supported by a SECL archaeological fieldwork bursary, to assist with the costs involved in a participation of 15 working days, normally including social and educational activities such as a museum trip and an orientation day.

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.

Staff teaching on this module will be provided with a Kent –approved fieldwork checklist of skills to train students a range of no less than ten skills appropriate to fieldwork that will result in a broad portfolio illustrating the best work done on site.

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The module will introduce students 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 module is concerned with the interaction between two contiguous but very different peoples, Egypt in the Late Period and Classical Greece. Though the Aegean world had a long history of contact with Egypt, the volume of contact increased dramatically under the XXVI (Saïte) Dynasty, with the foundation of commercial settlements, the development of vigorous trade relations and the arrival of many Greeks as traders, mercenaries and tourists. That contact had profound consequences both in the short and longer term; provided an essential support for the last great dynasty of independent Egypt; aided the rise of the East Greek cities of Ionia; and it influenced the development of Greek sculpture and architecture.

Equally important, it revealed to the Greeks a civilisation, which was deeply impressive, in many ways superior, yet alien. The immediate fruit of that perception lies in the stimulus to Greek thought and history writing, especially through Herodotus (a vital witness to Egyptian religion and society of this age). In the longer term, it shaped the way in which the West perceived Egypt, creating myths about its antiquity, its religion and its wisdom that continues to affect us today, not least in the shaping of traditional Egyptology. The module will be taught from a range of sources, archaeological, papyrological, historical and literary.

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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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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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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 texts from the original will enhance understanding of their construction by the authors 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 prose texts. Translation of the texts from the original will enhance understanding of their construction by the authors 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 texts from the original will enhance understanding of their construction by the authors 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 elective 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

Optional modules may include Credits

This module will look at arts funding policy and public funding structures for the arts, including the formation of the Department of Culture, Media and Sport (DCMS), and the Arts Council and its various models of operation since 1947 through to the present. This will serve to place productions from across the arts within the context of who makes policy and how it is formed, while acting as an introduction to arts funding and the application and measurement process. Students will gain an understanding of the structure of central, regional and local government in as much as they affect the arts. Trust and Foundations that support and nurture the arts are also explored in the context of how these can supplement and develop productions. Sponsorship and commercial involvement is looked at in the ways that this can be integrated into the package.

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This interdisciplinary course will examine historical and current theoretical ideas and research on the ways in which art is created and perceived. Artforms that will be considered include visual arts (painting, sculpture, architecture, popular art), performing arts (dance and theater), music, and film. Readings will interface with subdisciplines of psychology such as perception, psychoaesthetics, neurophysiology, social psychology, and studies of emotion. Principal areas of focus will include aesthetics, arts-experimental design, perception of art, meaning in art, the psychology of the creative process, social and cultural issues, and the ramifications of arts-sciences research. The primary focus will be on Western art forms, though other world art traditions and aesthetics will be discussed. Assessment methods will test understanding through a summary and critical reflection on a selected text and the proposal, research, and design and oral presentation of a potential interdisciplinary research project.

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The module gives School of Arts students across a range undergraduate programmes the opportunity to undertake a written independent research project at stage 3.

Students who wish to take the module must approach a permanent academic member of staff with a proposal, typically in advance of module registration, during the Spring term of the previous year. Students pick a research topic of their choice; however, students are only allowed to register for the module with the permission of a staff member who has agreed to supervise the project, and who has the expertise to do so. Potential supervisors must also ensure before they agree to supervise a project that the resources required to complete the project will be available to the student, and that adequate supervisory support will be available to the student throughout their study on the module.

Students will be supported in the preparation and submission of their work by their supervisor, although a central expectation of the module is that students will take increasing responsibility for their learning, consistent with expectations of Level 6 study.

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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.

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30

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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30

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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30

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

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30

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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30

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

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

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30

This module explores the contribution made to the study of film, and related artforms such as still photography, music and multimedia, by the cluster of disciplines commonly put under the umbrella of 'cognitive theory.' Cognitive theory emerged in the 1950s with the groundbreaking linguistic research of Noam Chomsky, who demonstrated that linguistic competence depended on innate mental capacities, and that certain universal grammatical norms underlie and unify the variety of languages. Since then, research on a wide variety of aspects of human cognition has been undertaken, taking its cue from Chomsky – on emotion, visual and aural perception, metaphor, and narrative understanding, among many other areas. And since the 1980s, a distinct approach within film studies – cognitive film theory – has emerged, which sets the study of film within this context. The module examines the way in which cognitive film theorists have taken up and developed ideas from the wider tradition of cognitive research, and the debates and controversies that have subsequently arisen betweeen cognitive film theorists and exponents of other approaches to film.

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30

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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30

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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30

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

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30

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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30

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

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30

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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30

Students will participate in the close reading and interpretation of Latin prose and/ or 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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30

This module is concerned with the interaction between two contiguous but very different peoples, Egypt in the Late Period and Classical Greece. Though the Aegean world had a long history of contact with Egypt, the volume of contact increased dramatically under the XXVI (Saïte) Dynasty, with the foundation of commercial settlements, the development of vigorous trade relations and the arrival of many Greeks as traders, mercenaries and tourists. That contact had profound consequences both in the short and longer term; provided an essential support for the last great dynasty of independent Egypt; aided the rise of the East Greek cities of Ionia; and it influenced the development of Greek sculpture and architecture.

Equally important, it revealed to the Greeks a civilisation, which was deeply impressive, in many ways superior, yet alien. The immediate fruit of that perception lies in the stimulus to Greek thought and history writing, especially through Herodotus (a vital witness to Egyptian religion and society of this age). In the longer term, it shaped the way in which the West perceived Egypt, creating myths about its antiquity, its religion and its wisdom that continues to affect us today, not least in the shaping of traditional Egyptology. The module will be taught from a range of sources, archaeological, papyrological, historical and literary.

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30

The module will introduce students 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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30

The module examines the Iron Age peoples of temperate Europe, their ways and means of living combining the archaeological, artefactual and historic sources of evidence. This was the era of the proto-historic Celts: farmers, crafts people and warriors. Peoples described as Celts sacked Rome in the early fourth century BC; they probably ravaged Delphi towards the mid third century BC; and from the later second century BC they were in conflict with the expanding Roman Empire, ultimately becoming the majority of its subjects in the West. The intent of this module is to search for the Iron Age Celts of Antiquity... but participants should not embark on the study with the certain expectation that they will be found! For long interpreted within a largely Classically-derived pan European model, the archaeological evidence is now increasingly discussed in ways which emphasise the diversity rather than the uniformity of life and culture across west/central Europe during the centuries in which the Classical World was in contact with those whom it identified as Celts.

The module will critically evaluate the evidence for the pre/proto historic Celts derived from the Classical writers, the concept of a widespread European Celtic culture in antiquity, and the contrasting interpretations which can be generated by the archaeological evidence for the conventional pre Roman Iron Age in temperate Europe. The Iron Age of temperate Europe presents a rich array of burials, finely crafted metalwork, settlements, hillforts, ritual, religious manifestations, artefacts and environmental remains plus evidence of travel, trade, contact and warfare both within its realms and with the Mediterranean peoples: all these elements form curriculum subjects via study, characterisation and contextualisation.

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30

How did the Western Roman Empire undergo its transformation into the early medieval world? This course provides an overview of the period between 300 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 University.

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30

Ancient medicine was a complex mixture of what we would consider 'rational' and 'irrational' ideas and practices for the causes and cures of disease and illness. In this module students will use the various sources of evidence that survive in the literary, archaeological and epigraphic record to learn about the subject of Greek and Roman medicine.

An historical approach will be used starting with an examination of the pre-Socratic philosophers' and Hippocratic writers’ ideas about the body and medicine, moving into the Hellenistic period examining the dissections and vivisections of Herophilus and Erasistratus. The archaeological material from Greek healing sanctuaries will add to the understanding of healing. For the Roman period questions will be addressed about the influence of Greek medicine on Roman medicine and the archaeological remains of instruments and buildings associated with healing, such as baths, sanctuaries and possible hospitals. The works of Celsus, Pliny the Elder and Galen will be examined. The module culminates in a review of the survival of medical practices into Late Antiquity and the medieval Islamic period. Throughout the class, students will examine ideas about rationality and medical influences from one society to another.

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30

The module is based on individual scholarship and research. The project will be chosen by the student with the advice of the tutor. In terms of the primary data it could involve investigation of antiquarian literature; archive documentation including cartographic sources; Sites and Monuments Records; museum collections; observation of monuments in the field; or participation in approved field work or excavation. Choice of project will be informed by personal interests, the fulfilment of the aims of the module, the availability of expert supervision, and the accessibility of data. Typically the project may have a local or regional focus.

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30

This course will survey the evolution of the Mediterranean city from AD 300 to 650, the urban crisis that 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 sixth century East, which provided a foundation for much of Early Islamic urbanism.

Although north-west Europe is included, the Mediterranean is the predominantly the focus of this module 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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30

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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30

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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30

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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30

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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15
You have the opportunity to select elective 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.

Contact Hours

For a student studying full time, each academic year of the programme will comprise 1200 learning hours which include both direct contact hours and private study hours.  The precise breakdown of hours will be subject dependent and will vary according to modules.  Please refer to the individual module details under Course Structure.

Methods of assessment will vary according to subject specialism and individual modules.  Please refer to the individual module details under Course Structure.

Programme aims

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. 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.

New GCSE grades

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

Qualification Typical offer/minimum requirement
A level

ABB

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. 

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

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

Meet our staff in your country

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

English Language Requirements

Please see our English language entry requirements web page.

Please note that if you are required to meet an English language condition, we offer a number of 'pre-sessional' courses in English for Academic Purposes. You attend these courses before starting your degree programme. 

General entry requirements

Please also see our general entry requirements.

Fees

The 2019/20 annual tuition fees for this programme are:

UK/EU Overseas
Full-time £9250 £15700
Part-time £4625 £7850

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.* 

Your fee status

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

Fees for Year in Industry

For 2019/20 entrants, the standard year in industry fee for home, EU and international students is £1,385

Fees for Year Abroad

UK, EU and international students on an approved year abroad for the full 2019/20 academic year pay £1,385 for that year. 

Students studying abroad for less than one academic year will pay full fees according to their fee status. 

General additional costs

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

Funding

University funding

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

Government funding

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

Scholarships

General scholarships

Scholarships are available for excellence in academic performance, sport and music and are awarded on merit. For further information on the range of awards available and to make an application see our scholarships website.

The Kent Scholarship for Academic Excellence

At Kent we recognise, encourage and reward excellence. We have created the Kent Scholarship for Academic Excellence. 

The scholarship will be awarded to any applicant who achieves a minimum of AAA over three A levels, or the equivalent qualifications (including BTEC and IB) as specified on our scholarships pages

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

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.