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Learn the language of film and discover its rich history at Kent, one of the three major universities for film in the UK. Study film from its silent beginnings through to 3D CGI blockbusters, taking in avant-garde and international cinemas on your way, and find your own voice as a critic and a filmmaker.
For over 30 years, Kent has been at the forefront of developing film as an academic subject. Our expertise means that you have a wide choice of areas to explore.
As a student, you become part of the community based within the School of Arts building – a creative hub for students of film, drama, media studies and art history.
Our degree programme
Our degree is flexible: you study film theory but you also have the option to explore film practice – for example, through developing the skills of a film critic or getting involved in creative film production.
In the first year, you cover the language of film (framing, sound, editing, performance, lighting), learn about the theory and the history of film, and can take a practical filmmaking module.
In your second and final years, you have a huge range of modules to choose from, covering everything from avant-garde to animation, with a variety of practice modules too, including screenwriting and documentary film.
It is possible to take this degree with a placement year and gain valuable work experience. For details, see Film with a Placement Year.
You have the option to combine this degree with a year of working or studying abroad. For details, see Film with a Year Abroad.
Facilities to support film theory include:
- our own cinema, which screens ten to 15 films a week
- 8,000 DVDs and videos in the library
- individual and group viewing facilities in the library
- an extensive collection of books and journals, including online resources.
Our film production facilities are industry-standard and include the following:
- soundproofed production studio with projection, chroma-key green screen and black serge cycloramas
- extensive lighting grid
- sound-dubbing studio
- individual edit suites equipped with Final Cut Pro
- digital studio with post-production software.
The School of Arts puts on many special events, which you are welcome to attend. In previous years, these have included symposia, seminars, conferences and exhibitions, as well as visits by filmmakers and critics.
You also have the chance to take part in film-related student societies.
- The Film Society at Kent is run by students and gives you a chance to get involved in film production, film journalism, educational activities and a film festival.
- Kent Media Centre, run by student volunteers, produces KTV (Kent Television) – a TV station dedicated to student news and events across campus.
For trips to the cinema, we have the Gulbenkian Cinema on campus, which screens arthouse, independent, foreign language and blockbuster films. In Canterbury city centre, there is also the Curzon arts cinema and an Odeon.
Film students become part of a wide professional network, thanks to our excellent links with other film bodies. These include:
- Arts Council England
- British Film Institute (BFI)
- Independent Cinema Office
- Screen Archive South East
- Kent Film.
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.
Of Film Studies students who graduated from Kent in 2017 and completed a national survey, over 96% were in work or further study within six months (DLHE).
Teaching Excellence Framework
All University of Kent courses are regulated by the Office for Students.
Based on the evidence available, the TEF Panel judged that the University of Kent delivers consistently outstanding teaching, learning and outcomes for its students. It is of the highest quality found in the UK.
Please see the University of Kent's Statement of Findings for more information.
The course structure below gives a flavour of the modules that will be available to you and provides details of the content of this programme. This listing is based on the current curriculum and may change year to year in response to new curriculum developments and innovation. Most programmes will require you to study a combination of compulsory and optional modules. You may also have the option to take 'elective' modules from other programmes offered by the University in order that you may customise your programme and explore other subject areas of interest to you or that may further enhance your employability.
|Compulsory modules currently include||Credits|
FI313 - Film Style
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 strategiesView full module details
|Optional modules may include||Credits|
FI315 - Film Theory
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.View full module details
FI316 - Film Histories
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.View full module details
FI314 - Hollywood Studios
The module studies the emergence and consolidation of the studio system in Hollywood, between the coming of sound in 1929 until the collapse of the studios in 1960. Indicative topics include the rise of the star system; the emergence of genres; self-regulation and censorship; developments in technology; and changes in audience. Examination will be made of the development of the 'classic Hollywood cinema' style of film against the backdrop of varying contexts of production, distribution, exhibition and regulation. A focus on genres (such as the gangster film, western and musical) in their various phases of development and permutation will be a lens for student understanding of the importance of standardization. Studio development and collapse are also seen in broader historical and political contexts, enabling students to appreciate the forces that motivated film production, distribution and exhibition during the period.View full module details
FI309 - Introduction to Filmmaking
Introduction to Filmmaking draws upon concepts in Film Studies to inform an introduction to moving image production that focuses on the exploration of cinematic language. Basic technical skills in DV production and post-production are taught along with craft skills applicable to both narrative and experimental screen production. Through a combination of lectures, screenings, creative and technical workshops, and peer reviews of work in progress, this module encourages experimentation, critical reflection, independent thought, and dialogue between theory and practice. Effective group work is integral to the success of student work on this module. Practical work is designed to trigger both conceptual and creative thinking as well as consideration of audience responses to cinematic language. The essay, a critical analysis of the finished film, is designed to encourage a dialogue between theory and practice.View full module details
|Optional modules may include||Credits|
FI531 - Postwar American Cinema
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).View full module details
FI629 - Working with Actors
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.View full module details
FI630 - Documentary Filmmaking
Through technical exercises and presentation of film texts, students will engage with key aspects of non-fiction filmmaking. A series of practical projects will be contextualised through lectures drawing on a number of film texts, looking at examples from the history of the non-fiction film e.g. early cinema, direct cinema, cinema verité, and the film essay. The exercises are an opportunity for students to develop their creative practice. The development of a treatment / proposal leading to the production of final film project will use theory and critical analysis to develop students understanding of documentary practice.
Students will build on existing skills of collaboration (learnt on FILM3080/90 Introduction to Filmmaking), improving competence in the planning, production and editing of practical, creative work. Students will develop an understanding of crucial aspects of non-fiction filmmaking -- in terms of both theory and practice -- and deepen their skills in the critical analysis of such texts. Students will build on existing skills of relating theory and practice, by analysing the implications (e.g. ideological, ethical) of their production decisions; the course will enhance student's ability to reflect self-critically on their own and other student’s practical work.View full module details
FI631 - Genre Filmmaking
The key themes of this module are contextualising the work of students by gaining a historical overview of genre filmmaking, and guiding students towards making a short film within the parameters of a chosen genre(s). From seminars and a series of instruction sessions in camera, sound and editing, students will develop, shoot and edit in groups an original short fiction film idea in a genre chosen from or combining, but not exclusive to, the following: crime, musical, horror, melodrama, western, science fiction, road movie, romantic comedy. This idea will be brought to fruition in a series of seminars designed to develop students' creative potential, alongside screenings of relevant genre films. Secondly, students will be asked to write an essay in which they analyse a feature film in a chosen genre and relate it to their own project idea.View full module details
FI632 - TV: From Soap Operas to Sitcoms
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.View full module details
ART502 - Costume and Fashion
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.View full module details
ART522 - Disability and the Arts
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.View full module details
ART523 - Photography: Contexts of Practice
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.View full module details
FI594 - Film Authorship
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.View full module details
FI595 - Film Genre (Horror)
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.View full module details
FI602 - Documentary Cinema
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.View full module details
FI603 - Sound and Cinema
Cinema has typically been conceived of as an essentially visual phenomenon – films, it is often said, are essentially moving pictures. Sound has, nevertheless, played an important role from the beginnings of cinema, a fact which has been acknowledged in the detailed historical, theoretical and critical work on film music, and film sound more generally. Sound, Music and Cinema will provide an overview of this field of research, and aim to provide students with a clearer understanding of and greater sensitivity to the soundtrack. The course will begin by setting up an introductory framework for the understanding of sound, which considers the relationship between music and other aspects of film sound (speech, ambient sound, sound effects), as well as the nature of the relationship between sound and image. Subsequent sessions will consider the evolution of sound technology and its impact on the aural aesthetics of film; the use of classical and popular music in film scores; the emergence of sound designers, in contemporary cinema; and the distinctive and innovative use of sound and music by a number of 'sound stylists'.View full module details
FI606 - Avant-Garde and Experimental Cinema
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.View full module details
FI607 - Storytelling and the Cinema
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.View full module details
FI618 - Screenwriting
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.View full module details
Going abroad as part of your degree is an amazing experience and a chance to develop personally, academically and professionally. You experience a different culture, gain a new academic perspective, establish international contacts and enhance your employability.
All students within the Faculty of Humanities can apply to spend a term or year abroad as part of their degree at one of our partner universities in North America, Asia or Europe. You are expected to adhere to any progression requirements including achieving a merit at Stage 1 and Stage 2 to proceed to the term or year abroad.
The term or year abroad is assessed on a pass/fail basis and will not count towards your final degree classification. Places and destination are subject to availability, language and degree programme. To find out more, please see Go Abroad.
|Optional modules may include||Credits|
ART520 - Psychology of the Arts
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.View full module details
ART500 - Independent Project
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.View full module details
ART501 - Arts Internship
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.View full module details
FI622 - Television Series: Narration, Engagement and Evaluation
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.View full module details
FI568 - Film and Television Adaptation
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.View full module details
FI587 - Extreme Cinema
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.View full module details
Teaching and assessment
All modules involve lectures, small group seminars and film screenings (where relevant). On average, you have two lectures and three hours of seminars each week, plus four to six hours film viewing.
Depending on the modules you select, assessment varies from 100% coursework (extended essays or dissertation), to a combination of examination and coursework.
For a student studying full time, each academic year of the programme will comprise 1200 learning hours which include both direct contact hours and private study hours. The precise breakdown of hours will be subject dependent and will vary according to modules. Please refer to the individual module details under Course Structure.
Methods of assessment will vary according to subject specialism and individual modules. Please refer to the individual module details under Course Structure.
The programme aims to:
- produce graduates with an informed, critical, analytical and creative approach to understanding film as cultural and aesthetic expressive media
- develop students' creative, intellectual, analytical and research skills
- develop existing and new areas of teaching in response to the advance of research and scholarship within the subject as well as new developments in film
- widen participation in higher education among a diverse body of students
- develop students' knowledge and skills in film studies
- encourage students' critical, analytical and creative skills in relation to film study and, where undertaken, in relation to screen production
- develop students' ability to think independently and flexibly
- enhance awareness of, and sensitivity to, the contexts of production and consumption of film
- develop students' interpersonal skills and interaction and their reflexiveness in individual and group work.
Knowledge and understanding
You gain knowledge and understanding of:
- the different genres and the diversity of film forms
- the historical evolution of particular genres, aesthetic traditions and film forms
- the ways in which critical and cultural theories and concepts have developed within particular contexts
- the cultural and social contexts which affect the meaning of film works
- aesthetic judgement
- conceptualisations of pleasure and identification in film
- narrative processes in film
- modes of representation at work in film
- film conventions
- the ways in which different social groups may relate to, engage with and interact with film works.
You gain the following intellectual abilities:
- engage critically with major thinkers, debates, intellectual paradigms, and scholarly literature within the field
- understand forms of film as they have emerged historically
- examine the historical, social and cultural contexts of such forms
- analyse closely, interpret, and undertake critical evaluation
- critically reflect upon your own work
- carry out various forms of research for essays, projects, creative productions or dissertations involving sustained independent enquiry
- formulate apposite research questions and employ appropriate methods and resources to explore them
- evaluate and draw upon the range of sources and the conceptual frameworks appropriate to research in a chosen area
- draw and reflect upon the relevance and impact of your own cultural assumptions to the practice of research.
You gain subject-specific skills in the following:
- analysing and interpreting sounds and images in time and space
- understanding and knowledge of narrative and stylistic forms and structures in film and television
- bringing together ideas from various sources of knowledge and different academic disciplines
- articulating understanding of visual and oral media in a written medium
- effectively deploying terms and concepts specific to the study of film and television
- where practice modules are undertaken: producing work which demonstrates the effective manipulation of sound, image, performance and, where appropriate, the written word
- utilising effectively relevant technical concepts and theories
- producing work showing competence in the operational skills of screen production and post-production technologies
- initiating, developing and realising distinctive and creative work through group collaboration
- managing time, personnel and resources effectively
- demonstrating an understanding of communicative strategies specific to film
- producing work informed by, and contextualised within, relevant theoretical debates you have studied within the programme as a whole.
You gain transferable skills in the following:
- working in flexible, creative and independent ways, showing self-discipline, including time-management and self-direction, sustaining focus and applying attention to detail
- organising and managing supervised, self-directed projects and researching and evaluating sources in the process of carrying out independent study
- communicating effectively and appropriately orally and in writing and, where undertaken, in other media
- identifying issues and questions and gathering, organising and deploying knowledge and ideas to formulate cogent analysis and arguments, making subtle and discriminating comparisons and applying interpretive skills in diverse situations and contexts
- working productively in a group, and displaying an ability, at different times to listen, contribute and lead effectively
- showing insight in, and understanding of, the social and ethical issues surrounding contemporary communications, media, culture and society
- information technology, such as word-processing, using the internet and, where undertaken, digital technology in relation to practice.
Recent graduates have gone on to work in areas such as:
- film and TV production
- arts organisations
- media outlets (as film journalists)
- film and TV archives
- film marketing and distribution
- university and school teaching
- local government
Our alumni include:
- bestselling author and filmmaker Leon McCarron
- feature film scriptwriter Mike Walden
- film director Simon Savory.
Help finding a job
Kent School of Arts has an excellent reputation and many links to professional practices. This network is very useful to students when looking for work.
The University also has a friendly Careers and Employability Service which can give you advice on how to:
- apply for jobs
- write a good CV
- perform well in interviews.
As well as gaining skills and knowledge in your subject area, you also learn the key transferable skills that are essential for all graduates. These include the ability to:
- think critically
- communicate your ideas and opinions
- work independently.
You can also gain extra skills by signing up for one of our Kent Extra activities, such as learning a language or volunteering.
The unique modes of expression I learned on the course laid the foundations for my career as a screenwriter and many of the techniques we were taught at Kent continue to inform my current work.Mike Walden Film BA
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|
|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.
34 points overall or 16 points at HL
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.
The 2019/20 annual tuition fees for this programme are:
For details of when and how to pay fees and charges, please see our Student Finance Guide.
For students continuing on this programme, fees will increase year on year by no more than RPI + 3% in each academic year of study except where regulated.*
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.
The following course-related costs are not included in your tuition fees.
For students taking film practice/production modules, we recommend you purchase:
- a copy of Adobe Photoshop and Premiere Elements. Student price approx. £90
- a laptop (ideally, but not necessarily, an Apple Mac) to run the above software
- an SD card (32GB Class 10 UHC1 or better). Typical cost: £20.
Our video production facilities will be Adobe-based. Therefore, if you wish to invest in your own equipment, these purchases will ensure it fits in seamlessly with our technology. However, any student unable to make these purchases will be guaranteed the use of the same, or better, University resources and will not be disadvantaged.
For students taking the Beyond Cinema module:
You have the opportunity to attend special screenings and other activities. Participation is strongly encouraged. The fee for these activities is due in the first few weeks of term and is approx. £20 (based on previous years).
General additional costs
Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. See our funding page for more details.
You may be eligible for government finance to help pay for the costs of studying. See the Government's student finance website.
Scholarships are available for excellence in academic performance, sport and music and are awarded on merit. For further information on the range of awards available and to make an application see our scholarships website.
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.
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 email@example.com.