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Film and Philosophy - BA (Hons)

UCAS code VW56

2020

Studying Philosophy and Film enables you to engage with the world’s major philosophies and thinkers alongside the study of films from all genres.

Overview

What is philosophy? Why is it important? Is it relevant? As a student of Philosophy at Kent, you do not so much learn about philosophy as learn to do it yourself. This includes not only studying major philosophies and philosophers, but also contributing your own ideas to an ongoing dialogue. You develop the ability to connect the most abstract ideas to the most concrete things in our experience.

There is an active research culture in the Department of Philosophy at Kent, with internationally recognised experts whose interests range from philosophers such as Hegel, Kant and Wittgenstein to topics such as the philosophy of the mind, ethics, aesthetics, logic, political philosophy, metaphysics and artificial intelligence.

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

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

This degree programme is an ideal combination for anyone wanting to appreciate the breadth and complexities of our ideas, whether written or thought, or portrayed visually on screen.

Year abroad

This programme includes the option to spend a year abroad at one of our partner universities, between Stages 2 and 3. For more information, see the course structure tab and Go Abroad.

Independent rankings

Philosophy at Kent scored 92.2 out of 100 in The Complete University Guide 2019. In The Guardian University Guide 2019, 95% of final-year Philosophy students were satisfied with the overall quality of their course.

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

This module begins with a critical examination of Rene Descartes' justly celebrated Meditations on First Philosophy (published, originally, in 1641). This work not only provides a comprehensive account of Descartes' philosophical system, but also constitutes an admirable introduction to The Theory of Knowledge and to Metaphysics. Thus, Descartes' fundamentally Rationalist account of our knowledge of the external world is duly contrasted with the Empiricist accounts offered by such Twentieth Century Philosophers as Bertrand Russell and A.J.Ayer; while Descartes' Dualism is compared with the other major metaphysical doctrines, namely, Idealism, Phenomenalism and contemporary Physicalism. The module concludes with a survey of what is, perhaps, the most perplexing of metaphysical problems, namely, The Problem of Freewill and Determinism.

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This module will introduce students to a number of big questions in ethics. The questions may include the following: What makes a life good? Is it happiness? Or is it something else? Another big question is: What makes actions right or wrong? Is it God demanding or forbidding them? Or are actions perhaps right to the extent that they serve to make lives better off, and wrong to the extent that they make lives worse off? Some philosophers have thought so. Others wonder: What if I steal money from someone so rich that my act in no way makes their life go any worse. Might it still be the case that I have acted wrongly—even if I haven't made anyone worse off? A third bit question is this: What’s the status of morality? Is it, for example, the case that what’s right for me might be wrong for you? Does it make any sense at all to talk about moral claims being true or false, even relative to moral communities? Might moral judgments be nothing but expressions of sentiments? Throughout the course, students will be examining these and similar questions from the point of view of a variety of philosophers, including Plato, Aristotle, John Stuart Mill, Immanuel Kant, and David Hume.

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15

Since Plato's Dialogues, it has been part of philosophical enquiry to consider philosophical questions using logic and common sense alone. This module aims to train students to continue in that tradition. In the first part students will be introduced to basic themes in introductory formal logic and critical thinking. In the second part students will be presented with a problem each week in the form of a short argument, question, or philosophical puzzle and will be asked to think about it without consulting the literature. The problem, and students’ responses to it, will then form the basis of a structured discussion. By the end of the module, students (a) will have acquired a basic logical vocabulary and techniques for the evaluation of arguments; (b) will have practised applying these techniques to short passages of philosophical argument; and (c) will have acquired the ability to look at new claims or problems and to apply their newly acquired argumentative and critical skills in order to generate philosophical discussions of them.

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15

What do philosophers do? How do they think? What do they typically think about? How do philosophers write? What sorts of writing are acceptable in philosophy? How should you write? How should philosophy best be read in order to be understood and assessed?'

In this module we will introduce you to some of the most interesting questions in philosophy, both from its history and from current debates. As we do this we will show you how to think, read and write as a philosopher.

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15

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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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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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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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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Is it right that the talented profit from their (undeserved) talents? Should the government provide compensation for people who find it hard to meet that special someone? Should we think our duties to our compatriots are more important than our duties to people in other countries?

This course is divided into two parts. The first part examines classic topics in political philosophy, such as Rawls Theory of Justice, Nozick's libertarianism and the feminist and communitarian criticism of political liberalism. The second part of the course will explore issues within contemporary political philosophy, such as equality, our obligations to those in the developing world, and the politics of immigration. We will consider whether we can make sense of political obligation between states as well as within states. We will look at these issues in the context of particular recent case studies.

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What makes it the case that certain actions, such as stealing and sharing, have ethical value? Are ethical values such as goodness and badness, compassion and cruelty, mind-independent ethical properties, properties that exist no matter what anyone thinks, desires, aims at and the like? Or are there no such ethical properties at all and when we call something good we are just expressing our emotions and feelings about a non-ethical world? Are there any other positions available?

This course is designed to introduce you to some of the most exciting and interesting philosophical literature in recent years, which brings together ethics and metaphysics with a little epistemology and philosophy of language. The first half of this course will examine (what are often called) "metaethical" questions such as those above. We will then move on to discuss debates concerning moral psychology and motivation. When one says 'charity-giving is good' is it a matter of necessity that one will be motivated to some extent to give to charity? Or is it possible for one to make such a judgement and have no motivation at all (and for such a judgement to count as a legitimate moral judgement)? At the end we will see how these questions concerning psychology are integral to the earlier debates of metaphysics.

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This course is designed to introduce students to a number of philosophical issues arising from medical research and medical practice. Students will consider attempts to define the following terms – health, illness, and disease – and discuss what rests on their definition. Much medical practice proceeds as though medicine were a natural science. This module will probe the limitations of this conception. The placebo effect demonstrates the powerful influence of suggestion on the body and students will consider its relevance to philosophical ideas of the mind-body relation. Finally, students will consider ethical issues arising in medical practice, such as 'medically assisted death'.

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Groups of marks or bursts of sound are just physical entities but, when produced by a writer or a speaker, they are used to point beyond themselves. This is the property of aboutness or intentionality. Other physical entities generally do not have this property. When you hear a sentence, you hear a burst of sound, but typically you also understand a meaning conveyed by the speaker. What is the meaning of a word – some weird entity that floats alongside the word, a set of rules associating the word with objects, an intention in the mind of the speaker….? What is the difference between what your words imply and what you convey in saying them? How are words used non-literally, how do hearers catch on to the meaning of a newly minted metaphor? How can we mean and convey so much when uttering a concise sentence? When someone says something offensive, is it part of its meaning that it is offensive, or just how it is used? In this module we shall try to find some answers to the questions listed above.

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The aim of this course is to engage in the study of specific topics in the philosophy of mind, language, or action and to engage with the criticism of contemporary approaches as it is found in the works of Wittgenstein, Ryle, Anscombe, and/or Austin.

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Logic is the study of the methods and principles used to distinguish correct reasoning from incorrect reasoning and, as such, it is a crucial component of any philosophy course. Moreover, logic has applications other than the testing of arguments for cogency: it is also a widely used and useful tool for clarifying the problematic concepts that have traditionally troubled philosophers, e.g., deductive consequence, rational degree of belief, knowledge, necessary truth, identity, etc. Indeed, much contemporary philosophy cannot be understood without a working knowledge of logic. Given this, logic is an important subject for philosophy students to master.

The module will primarily cover propositional and predicate logic. Regarding propositional and predicate logic, the focus will be on methods for testing the validity of an argument. These methods will allow students to distinguish correct from incorrect reasoning. The module will also cover inductive and modal logics. Regarding inductive and modal logics, the focus will be on clarifying epistemological concepts through the use of these logics.

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30

The module will study some of the major works in the history of modern philosophy of science. Texts to be studied will be drawn from a list that includes major works by philosophers such as Popper, Kuhn, Lakatos, Shapere, and Feyerabend. The approach will be philosophical and critical, and will involve the close reading of texts. Students will be expected to engage critically with the works being studied and to formulate and argue for their own views on the issues covered.

An indicative list of themes to be studied: Inductivism versus falsificationism, Research Programmes, Incommensurability, Realism, Instrumentalism, Sociology of Scientific Knowledge, Causal Reasoning and Scientific Explanation.

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The module will study some of the major works in the history of modern philosophy of cognitive science and artificial intelligence. An indicative list of topics is: The Turing test; the Chinese Room argument; the frame problem; connectionism; extended and embodied cognition; artificial consciousness. The approach will be philosophical and critical, and will involve the close reading of texts. Students will be expected to engage critically with the works being studied and to formulate and argue for their own views on the issues covered.

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30

How does truth relate to existence? This module looks at the connection between truths and the things that make them true. We consider questions relating to the connection between truth and ontology (or existence) concerning time, persistence, possibility, generality, composition, and causation. We will look at how these issues are discussed in contemporary analytic metaphysics. We will explore both what solutions looking at the connections between truth and ontology might offer, whether this approach to the problems is useful, and how best to communicate the problems we discuss.

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Under what circumstances might it be permissible to use violence to further political goals? What distinguishes different sorts of political violence? Ought the state to have a monopoly on political violence? Are there some methods that should never be used to further political goals? In this course, we will look at the various forms of political violence, and consider how political and legal theorists have tried to regulate violent interaction between states and within states. We will examine the conceptual difficulties that arise when postulating international laws, and consider the role of the United Nations as international mediator and law enforcer. We will also look at the rights of self-determination amongst sub-national groups, and at the obligations of the international community to intervene to prevent humanitarian abuses.

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A controversy is currently raging in philosophy about the nature of evidence. Recent work in epistemology and the philosophy of science suggests new answers to questions such as: What is evidence? What is it to have evidence? Why do beliefs need to be guided by evidence? At the same time, there is a vigorous debate about the methods of evidence-based medicine and evidence-based policy making. Many practitioners regard these methods as fundamentally misguided, while others view them as key to progress in medicine and beyond. This module will bring these two important topics together and show how one line of current research in philosophy is informing the debate about evidence-based methods and vice versa.

In particular, this module will provide an introduction to the methods of evidence-based practice, including the various types of comparative clinical study, and the evidence hierarchy. It will involve applying recent insights from epistemology and the philosophy of science on the theory of evidence to critically appraise the motivation behind this conception of evidence-based practice.

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All things considered, liberal democracy is the best political system we know of. Nevertheless, it has always been in peril, attacked by totalitarian ideologies and undermined by self-destructive forces from within. In this module, we will investigate the essence and value of democracy, and the character and aims of its enemies. To this end, we will study an important theory in modern political philosophy, formulated in Ernst Cassirer's The Myth of the State. Cassirer explores the explosive problem of political myth in our day, and reveals how the myth of the state evolved from ancient times to prepare the way for the rise of the modern totalitarian state. He shows how the irrational forces symbolized by myth and manipulation by the state constantly threaten to destroy our civilization. This major contribution to political theory will help us understand the problems our societies face today, including questions relating to truth and falsehood in politics, and, of course, 'fake truth’. We shall also look at a related text, Hans Kelsen’s The Essence and Value of Democracy.

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This course is designed to introduce students to a number of approaches in what is often referred to as "normative ethics". We face and hear about moral problems every day. These problems range from life and death matters concerning abortion, euthanasia and the like to other types of case such as whether to tell a lie to prevent hurting someone's feelings. At some point we might wonder whether there is a set of rules or principles (such as 'Do not lie') which will help us through these tricky problems; we might wonder whether there is something more simple underlying all of this 'ethical mess’ that we can discern.

Normative ethics contains a number of theories that attempt to give us such principles and to sort out the mess. In particular, different normative ethical theories are attempts to articulate reasons why a certain course of action is ethically best; they are attempts to say what types of feature we should concentrate on when thinking about ethical problems and why it is that such features are features which have ‘intrinsic moral significance’. Of course, ethical theories do not exist in a vacuum. As we shall see, our everyday intuitions about what is morally best are both the origin of normative ethical theories and the origin of thoughts raised against them. In all of this, the course will be examining these theories by starting with their historical roots, particularly focussing on the work of J. S. Mill, Immanuel Kant and Aristotle.

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Many people today are reluctant to identify themselves as 'feminist': either because they see feminism as a useful political movement that has essentially served its purposes; or because they view feminism as a 'single-issue', militant ideology that they cannot identify with. This module is intended to give students an opportunity to reflect philosophically on what claims like this could mean: if we live in a post-feminist era, why do women earn, on average, two thirds of what their male counterparts earn? If we live in post-feminist era, why are women still under-represented in many fields (including politics, science and academic philosophy?). If feminism is a 'single-issue' ideology, why is it that feminists have proposed such a variety of solutions to the above problems, and from such a wide range of political standpoints?

The module explores some key debates in contemporary feminist philosophy, with particularly emphasis on its uncomfortable relationship with liberalism. The course draws attention to feminist critiques of key liberal concepts, such as consent, the social contract, autonomy, universal rights, and the private/public distinction. We go on to apply theoretical debates in feminist thought to the following political issues: prostitution, pornography, feminine appearance, multiculturalism, and human rights.

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This module will cover three areas, namely the historical mutual influence of mathematics and philosophy from Ancient Greece to the 19th century; the foundational crisis 1880-1930; and; current issues in philosophy of mathematics. Thinkers and topics that might be covered include Pythagoras, Plato, Islamic world, Renaissance, Descartes, Berkeley, Kant, Hegel, Dedekind, Frege, Russell, Gödel, Wittgenstein's philosophy of mathematics, Lakatos' Proofs and Refutations, revolutions in mathematics, and the applicability of mathematics.

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The module uses Hannah Arendt's The Human Condition as its core text and will make use of a wide variety of short philosophical texts from different historical periods to provide critical contrasts and elucidate important problems and questions about the nature of work. Key questions will include but not be limited to: Is there an inherent meaning to work? Is there a difference between labour and work? Where does work stand in relation to leisure or contemplation?

Generally, the reading assignments will alternate, with one week dedicated to a chapter from the core text, with the next week followed by philosophical essays by major figures that relate to the chapter content. Lectures will elucidate the significant questions and answers proposed by the texts. Seminars will be centred on group discussion.

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This course brings together a range of theories of love from the history of philosophy and from various traditions, including analytical philosophy, feminism, pragmatism and continental thought. It will explore questions of love, beauty and friendship in Plato, religious models in Aquinas, ars erotica in ancient Indian and Chinese philosophies of love, Romantic traditions of love, the logic of love in Peirce and James, feminist politics of love and maternity, and cognitive models of love. The course will also examine a range of analytical questions of love, including debates about the different types of love (eros, agape and philia), the problems of talking about love in philosophical language, distinctions between self-love and relational love, the relation of love to literature and poetry, love as embodied instinct and mental idea, the relation between love and sex, and connections between love, compassion and caring. The aim of the course is to combine a philosophical history of love with critical analytical skills to think about love as a dynamic feature of human relationships.

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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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Emotions figure in many areas of public life, and a number of pressing political issues (from fear in the evaluation of biomedical promises, to compassion in the criminal courtroom) invite us to think about the role of emotion in shaping citizens' political thought and activity. Emotions, however, are all too rarely studied conceptually, with the result that both political theory and practice are often left at a loss. Through lectures and seminar discussion, this module will offer the opportunity for students to engage in close analysis of the philosophy and cognitive science of emotion, as well as the ethical concerns that are raised by the role emotions can play in political activity and institutional practice.

This module will study prominent theories of emotion, asking about the connection between emotion, reason, and well-being. These aspects take a philosophical approach, but are also informed by advances in neurobiology and cognitive science. The module will also explore the public stage, asking how specific emotions figure in political questions: for example, fear, disgust, compassion, blame, empathy, boredom, and revenge. Political topics considered may include risky technologies, wrongful legal conviction, capital punishment, the Citizens' Income, and assisted dying. The role of emotion in media politics and protest movements will also be examined, assessing, for example, how compassion can be manufactured and mediated through political rhetoric, social media, social privilege, and popular fiction.

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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

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

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

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

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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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Emotions figure in many areas of public life, and a number of pressing political issues (from fear in the evaluation of biomedical promises, to compassion in the criminal courtroom) invite us to think about the role of emotion in shaping citizens' political thought and activity. Emotions, however, are all too rarely studied conceptually, with the result that both political theory and practice are often left at a loss. Through lectures and seminar discussion, this module will offer the opportunity for students to engage in close analysis of the philosophy and cognitive science of emotion, as well as the ethical concerns that are raised by the role emotions can play in political activity and institutional practice.

This module will study prominent theories of emotion, asking about the connection between emotion, reason, and well-being. These aspects take a philosophical approach, but are also informed by advances in neurobiology and cognitive science. The module will also explore the public stage, asking how specific emotions figure in political questions: for example, fear, disgust, compassion, blame, empathy, boredom, and revenge. Political topics considered may include risky technologies, wrongful legal conviction, capital punishment, the Citizens' Income, and assisted dying. The role of emotion in media politics and protest movements will also be examined, assessing, for example, how compassion can be manufactured and mediated through political rhetoric, social media, social privilege, and popular fiction.

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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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Students write a dissertation on a topic of their own choice in consultation with a supervisor. The topic must be on a philosophical subject. The final-year dissertation gives students the opportunity to satisfy their intellectual curiosity by individually and independently researching a large-scale project of their own choice. Students will be given guidance by a chosen supervisor across the chosen academic terms, but the rhythm of research, the writing and frequency of meetings between supervisor and student is left to the individual student to determine.

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What makes it the case that certain actions, such as stealing and sharing, have ethical value? Are ethical values such as goodness and badness, compassion and cruelty, mind-independent ethical properties, properties that exist no matter what anyone thinks, desires, aims at and the like? Or are there no such ethical properties at all and when we call something good we are just expressing our emotions and feelings about a non-ethical world? Are there any other positions available?

This course is designed to introduce you to some of the most exciting and interesting philosophical literature in recent years, which brings together ethics and metaphysics with a little epistemology and philosophy of language. The first half of this course will examine (what are often called) "metaethical" questions such as those above. We will then move on to discuss debates concerning moral psychology and motivation. When one says 'charity-giving is good' is it a matter of necessity that one will be motivated to some extent to give to charity? Or is it possible for one to make such a judgement and have no motivation at all (and for such a judgement to count as a legitimate moral judgement)? At the end we will see how these questions concerning psychology are integral to the earlier debates of metaphysics.

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This course is designed to introduce students to a number of philosophical issues arising from medical research and medical practice. Students will consider attempts to define the following terms – health, illness, and disease – and discuss what rests on their definition. Much medical practice proceeds as though medicine were a natural science. This module will probe the limitations of this conception. The placebo effect demonstrates the powerful influence of suggestion on the body and students will consider its relevance to philosophical ideas of the mind-body relation. Finally, students will consider ethical issues arising in medical practice, such as 'medically assisted death'.

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Groups of marks or bursts of sound are just physical entities but, when produced by a writer or a speaker, they are used to point beyond themselves. This is the property of aboutness or intentionality. Other physical entities generally do not have this property. When you hear a sentence, you hear a burst of sound, but typically you also understand a meaning conveyed by the speaker. What is the meaning of a word – some weird entity that floats alongside the word, a set of rules associating the word with objects, an intention in the mind of the speaker….? What is the difference between what your words imply and what you convey in saying them? How are words used non-literally, how do hearers catch on to the meaning of a newly minted metaphor? How can we mean and convey so much when uttering a concise sentence? When someone says something offensive, is it part of its meaning that it is offensive, or just how it is used? In this module we shall try to find some answers to the questions listed above.

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The aim of this course is to engage in the study of specific topics in the philosophy of mind, language, or action and to engage with the criticism of contemporary approaches as it is found in the works of Wittgenstein, Ryle, Anscombe, and/or Austin.

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Logic is the study of the methods and principles used to distinguish correct reasoning from incorrect reasoning and, as such, it is a crucial component of any philosophy course. Moreover, logic has applications other than the testing of arguments for cogency: it is also a widely used and useful tool for clarifying the problematic concepts that have traditionally troubled philosophers, e.g., deductive consequence, rational degree of belief, knowledge, necessary truth, identity, etc. Indeed, much contemporary philosophy cannot be understood without a working knowledge of logic. Given this, logic is an important subject for philosophy students to master.

The module will primarily cover propositional and predicate logic. Regarding propositional and predicate logic, the focus will be on methods for testing the validity of an argument. These methods will allow students to distinguish correct from incorrect reasoning. The module will also cover inductive and modal logics. Regarding inductive and modal logics, the focus will be on clarifying epistemological concepts through the use of these logics.

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The module will study some of the major works in the history of modern philosophy of science. Texts to be studied will be drawn from a list that includes major works by philosophers such as Popper, Kuhn, Lakatos, Shapere, and Feyerabend. The approach will be philosophical and critical, and will involve the close reading of texts. Students will be expected to engage critically with the works being studied and to formulate and argue for their own views on the issues covered.

An indicative list of themes to be studied: Inductivism versus falsificationism, Research Programmes, Incommensurability, Realism, Instrumentalism, Sociology of Scientific Knowledge, Causal Reasoning and Scientific Explanation.

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The module will study some of the major works in the history of modern philosophy of cognitive science and artificial intelligence. An indicative list of topics is: The Turing test; the Chinese Room argument; the frame problem; connectionism; extended and embodied cognition; artificial consciousness. The approach will be philosophical and critical, and will involve the close reading of texts. Students will be expected to engage critically with the works being studied and to formulate and argue for their own views on the issues covered.

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This course brings together a range of theories of love from the history of philosophy and from various traditions, including analytical philosophy, feminism, pragmatism and continental thought. It will explore questions of love, beauty and friendship in Plato, religious models in Aquinas, ars erotica in ancient Indian and Chinese philosophies of love, Romantic traditions of love, the logic of love in Peirce and James, feminist politics of love and maternity, and cognitive models of love. The course will also examine a range of analytical questions of love, including debates about the different types of love (eros, agape and philia), the problems of talking about love in philosophical language, distinctions between self-love and relational love, the relation of love to literature and poetry, love as embodied instinct and mental idea, the relation between love and sex, and connections between love, compassion and caring. The aim of the course is to combine a philosophical history of love with critical analytical skills to think about love as a dynamic feature of human relationships.

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The module uses Hannah Arendt's The Human Condition as its core text and will make use of a wide variety of short philosophical texts from different historical periods to provide critical contrasts and elucidate important problems and questions about the nature of work. Key questions will include but not be limited to: Is there an inherent meaning to work? Is there a difference between labour and work? Where does work stand in relation to leisure or contemplation?

Generally, the reading assignments will alternate, with one week dedicated to a chapter from the core text, with the next week followed by philosophical essays by major figures that relate to the chapter content. Lectures will elucidate the significant questions and answers proposed by the texts. Seminars will be centred on group discussion.

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This module will cover three areas, namely the historical mutual influence of mathematics and philosophy from Ancient Greece to the 19th century; the foundational crisis 1880-1930; and; current issues in philosophy of mathematics. Thinkers and topics that might be covered include Pythagoras, Plato, Islamic world, Renaissance, Descartes, Berkeley, Kant, Hegel, Dedekind, Frege, Russell, Gödel, Wittgenstein's philosophy of mathematics, Lakatos' Proofs and Refutations, revolutions in mathematics, and the applicability of mathematics.

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Many people today are reluctant to identify themselves as 'feminist': either because they see feminism as a useful political movement that has essentially served its purposes; or because they view feminism as a 'single-issue', militant ideology that they cannot identify with. This module is intended to give students an opportunity to reflect philosophically on what claims like this could mean: if we live in a post-feminist era, why do women earn, on average, two thirds of what their male counterparts earn? If we live in post-feminist era, why are women still under-represented in many fields (including politics, science and academic philosophy?). If feminism is a 'single-issue' ideology, why is it that feminists have proposed such a variety of solutions to the above problems, and from such a wide range of political standpoints?

The module explores some key debates in contemporary feminist philosophy, with particularly emphasis on its uncomfortable relationship with liberalism. The course draws attention to feminist critiques of key liberal concepts, such as consent, the social contract, autonomy, universal rights, and the private/public distinction. We go on to apply theoretical debates in feminist thought to the following political issues: prostitution, pornography, feminine appearance, multiculturalism, and human rights.

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This course is designed to introduce students to a number of approaches in what is often referred to as "normative ethics". We face and hear about moral problems every day. These problems range from life and death matters concerning abortion, euthanasia and the like to other types of case such as whether to tell a lie to prevent hurting someone's feelings. At some point we might wonder whether there is a set of rules or principles (such as 'Do not lie') which will help us through these tricky problems; we might wonder whether there is something more simple underlying all of this 'ethical mess' that we can discern.

Normative ethics contains a number of theories that attempt to give us such principles and to sort out the mess. In particular, different normative ethical theories are attempts to articulate reasons why a certain course of action is ethically best; they are attempts to say what types of feature we should concentrate on when thinking about ethical problems and why it is that such features are features which have 'intrinsic moral significance'. Of course, ethical theories do not exist in a vacuum. As we shall see, our everyday intuitions about what is morally best are both the origin of normative ethical theories and the origin of thoughts raised against them. In all of this, the course will be examining these theories by starting with their historical roots, particularly focussing on the work of J. S. Mill, Immanuel Kant and Aristotle.

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A controversy is currently raging in philosophy about the nature of evidence. Recent work in epistemology and the philosophy of science suggests new answers to questions such as: What is evidence? What is it to have evidence? Why do beliefs need to be guided by evidence? At the same time, there is a vigorous debate about the methods of evidence-based medicine and evidence-based policy making. Many practitioners regard these methods as fundamentally misguided, while others view them as key to progress in medicine and beyond. This module will bring these two important topics together and show how one line of current research in philosophy is informing the debate about evidence-based methods and vice versa.

In particular, this module will provide an introduction to the methods of evidence-based practice, including the various types of comparative clinical study, and the evidence hierarchy. It will involve applying recent insights from epistemology and the philosophy of science on the theory of evidence to critically appraise the motivation behind this conception of evidence-based practice.

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All things considered, liberal democracy is the best political system we know of. Nevertheless, it has always been in peril, attacked by totalitarian ideologies and undermined by self-destructive forces from within. In this module, we will investigate the essence and value of democracy, and the character and aims of its enemies. To this end, we will study an important theory in modern political philosophy, formulated in Ernst Cassirer's The Myth of the State. Cassirer explores the explosive problem of political myth in our day, and reveals how the myth of the state evolved from ancient times to prepare the way for the rise of the modern totalitarian state. He shows how the irrational forces symbolized by myth and manipulation by the state constantly threaten to destroy our civilization. This major contribution to political theory will help us understand the problems our societies face today, including questions relating to truth and falsehood in politics, and, of course, 'fake truth’. We shall also look at a related text, Hans Kelsen’s The Essence and Value of Democracy.

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Under what circumstances might it be permissible to use violence to further political goals? What distinguishes different sorts of political violence? Ought the state to have a monopoly on political violence? Are there some methods that should never be used to further political goals? In this module, we will look at the various forms of political violence, and consider how political and legal theorists have tried to regulate violent interaction between states and within states. We will examine the conceptual difficulties that arise when postulating international laws, and consider the role of the United Nations as international mediator and law enforcer. We will also look at the rights of self-determination amongst sub-national groups, and at the obligations of the international community to intervene to prevent humanitarian abuses.

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How does truth relate to existence? This module looks at the connection between truths and the things that make them true. We consider questions relating to the connection between truth and ontology (or existence) concerning time, persistence, possibility, generality, composition, and causation. We will look at how these issues are discussed in contemporary analytic metaphysics. We will explore both what solutions looking at the connections between truth and ontology might offer, whether this approach to the problems is useful, and how best to communicate the problems we discuss.

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Is it right that the talented profit from their (undeserved) talents? Should the government provide compensation for people who find it hard to meet that special someone? Should we think our duties to our compatriots are more important than our duties to people in other countries?

This course is divided into two parts. The first part examines classic topics in political philosophy, such as Rawls Theory of Justice, Nozick's libertarianism and the feminist and communitarian criticism of political liberalism. The second part of the course will explore issues within contemporary political philosophy, such as equality, our obligations to those in the developing world, and the politics of immigration. We will consider whether we can make sense of political obligation between states as well as within states. We will look at these issues in the context of particular recent case studies.

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You have the opportunity to select elective modules in this stage

Teaching and assessment

Philosophy

Teaching is by lectures, seminars, class discussions, and individual and group research, which is discussed in class.

All modules are assessed by 100% coursework (essays, in-class assignments, seminar participation) throughout the year.

Film

All modules involve lectures, small group seminars and film screenings (where relevant). On average, you have two lectures and three hours of seminars each week, plus four to six hours film viewing.

Depending on the modules you select, assessment varies from 100% coursework (extended essays or dissertation), to a combination of examination and coursework.

Contact Hours

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

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

Programme aims

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

Recently, our graduates have gone into areas such as teaching, publishing, journalism, media, marketing, the civil service, film and television industries and arts organisations, or to pursue postgraduate courses.

Studying Philosophy and 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.

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. A typical offer would be to achieve DDM.

International Baccalaureate

34 points overall or 16 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 2020/21 tuition fees have not yet been set. As a guide only, 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.