For over 30 years, the University of Kent has been at the forefront of developing film as an academic subject. We are one of the three major universities in the UK for film studies, and one of the most highly regarded departments in Europe.
Film at Kent engages with cinema's rich scope and history, from silent classics and mainstream Hollywood to world cinema and the avant-garde. We have a thriving film culture, with 10-20 films screened on our courses each week, the Gulbenkian Cinema (the regional arts cinema) based on campus and a lively student film society.
Our modules cover film theory, history and practice. Core options at Stage 1 include the basics of form and style. Options at Stages 2 and 3 include topics exploring national cinemas, animation, cognition and emotion, fantasy and pulp film. Academic modules can be combined with innovative and creative practical study, such as our film criticism. For students interested in practice, single honours students have the option to choose modules in practical film-making, including documentary film-making, screen writing and moving image production.
In 2014, the University opened a new 62-seat cinema named after the pioneering female film director Ida Lupino, which students can enjoy as part of their experience during their studies. The Lupino has state-of-the-art digital projection and sound, and has been created to provide an intimate atmosphere for film viewing.
Think Kent video series
This talk by Dr Maurizio Cinquegrani, Director of Graduate Studies in the School of Arts, focuses on a group of documentaries filmed in Poland and portraying journeys of postmemory to the sites of Jewish life before the war and Jewish destruction during the Holocaust.
Independent rankings
Media and Film Studies at Kent was ranked 3rd in The Guardian University Guide 2017. In the National Student Survey 2016, Cinematics and Photography at Kent was ranked 11th for the quality of teaching.
For graduate prospects, Media and Film Studies at Kent was ranked 5th in The Guardian University Guide 2017.
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 ‘wild’ 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.
In addition to the traditional Stage 1 modules listed below, you may also be able to select from:
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.
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.
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.
You have the opportunity to select wild modules in this stage
Stage 2
Possible modules may include:
FI537 - Postwar European Cinema (30 credits)
This course investigates some major production and aesthetic trends of postwar European cinema. Students are introduced to a selection of European films as well as to the writings of key Continental filmmakers, theorists and critics.
Topics may include: the subjective realisms of the French New Wave and New German Cinema; cycles and trends in European genres, such as the horror film and the western; the aesthetic claims of Italian Neo-Realism and Dogme '95.
These movements will be examined for their claims to interpret the real world, their relationship to films in other national contexts, and also interrogated for the economic and artistic motivations behind their existence as critical categories.
FI590 - Filmmaking: Improvisation for Screen (30 credits)
This interdisciplinary module brings Film and Drama Single Honours students together to explore improvisational techniques that increasingly animate both independent filmmaking and contemporary drama practice. Practical workshops provide technical instruction and creative focus on actors' improvisation as a rehearsal technique, a screenplay development technique, and a performance technique during filming. Exploration of improvisation as screen craft will be complemented by the theorisation of improvisation in lectures that also provide a historical context and introduce case studies of filmmakers’ use of improvisation techniques in devising and producing films. Connections between theatrical and cinematic trends that utilise forms of improvisation will be emphasised while student’s practical projects will respond to and expand upon these growing synergies between cinema and theatre in the digital age.
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.
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.
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.
FI606 - Avant-Garde and Experimental Cinema (30 credits)
This module examines types of cinematic practice whose principal labels have been 'experimental', ‘avant-garde’, ‘underground’ and ‘independent’ – terms which overlap but which are by no means synonymous. It is concerned with traditions of cinema which have, more or less self-consciously, formulated radically different aesthetics from those of the orthodox feature film, in which narrative is either radically reshaped, or displaced altogether by other concerns. Throughout, the course will juxtapose films deriving from the historical avant-garde movements (like the European avant-garde of the 20s, or the post-war American scene) along with contemporary exponents of related forms of filmmaking. The first part of the course provides a conceptual and historical overview of avant-garde filmmaking in the C20th; subsequent weeks focus on specific topics, for example collage, landscape, experimental narrative, and the interaction between film, video and the new media.
This module examines different forms of narrative and story-telling in cinema, drawing upon theories of myth, folk and fairytale as well as upon anthropological studies of oral storytelling in order to place film narration within the tradition of the 'popular' arts. The psychological and aesthetic role of narrative will be explored through the accounts offered by philosophy and psychoanalysis in order to understand the relations and tensions between narrative realism based on Aristotelian notions of cause and effect as well as character verisimilitude, and popular and avant-garde modes which transgress such notions. The role played by, for example, film genres and the star system in disrupting or supporting narrative cause and effect will be considered. The function of the script and of script-writing will be looked at in relation to the deployment of the cinematic elements of sound and image, spectacle and event in film. The course will be taught through a series of case-studies using a wide range of films within American and world cinema.
FI618 - Screenwriting: An Introduction (30 credits)
This module offers students an introduction to the terms, ideas and craft, involved in the creation of screenplays. Screenwriting is a unique form of writing with very different concerns from the novel, theatre and radio. Although the screenplay is a vital component of a film's success, it tends to be neglected as a separate art form.
In this module we explore the conventions of dramatic structure, new narrative forms and short film variations. Students are encouraged to think critically about screenplay writing and will have an opportunity to write their own screenplay. A selection of writing exercises have been designed to take them through the writing process; from preparation and initial concept to final draft.
The emphasis here will be on practical knowledge and support as student’s uncover their creative voice. This module does not aim to provide vocational training for students wishing to pursue careers in the feature film or television industries.
Mobile filmmaking has fast become a cultural phenomenon that democratises film production and generates new audio-visual aesthetics. It has also triggered the establishment of festivals designed specifically to showcase films made on mobile devices. Consequently, mobile filmmaking is now an object of serious academic study. This module embraces mobile filmmaking in all these respects and encourages students to explore this accessible form of filmmaking with creative and critical rigour. Students will work either individually or in pairs to create a short fiction or documentary film on a mobile device. Alternatively, students can form a larger group to devise a web series for which each student makes an episode. Practical work will be contextualised in an essay that situates the student project in the field of mobile media. To facilitate this, lectures and screenings will explore narrative, experimental and documentary forms of mobile filmmaking in a way that encourages students to critically engage with issues of form and style germane to mobile digital media, the relationship between technology and creativity, as well as current and emerging platforms for the dissemination of creative work made on mobile devices.
This course examines the mechanisms and conditions that facilitate and enhance transnational cultural flows. We will study how filmmakers actively franchise, adopt and rework film styles and genres. A genre or style initiated in one country can be quickly adopted in another, with filmmakers tailoring the genre or style to the tastes of local audiences. We will both analyse some of the generic conventions that these films foreground and/or transform and isolate some of the national subtleties that are only discernable to local audiences. As the number of co-productions continues to rise, critics and viewers feel perplexed, and sometimes even amused, in their attempts to discern and identify the nationality of a film. We will critically assess whether any limitations exist embedded in such a co-production strategy, which blurs and obscures the specificities of each nation-state involved. Finally, we will explore whether the changing mediascape – one of transnational, multi-media corporate conglomerate involvement in film production.
You have the opportunity to select wild modules in this stage
Year abroad
Going abroad as part of your degree is an amazing experience and a chance to develop personally, academically and professionally. You experience a different culture, gain a new academic perspective, establish international contacts and enhance your employability.
All students within the Faculty of Humanities can apply to spend a Term or Year Abroad as part of their degree at one of our partner universities in North America, Asia or Europe. You are expected to adhere to any progression requirements in Stage 1 and Stage 2 to proceed to the Term or Year Abroad.
The Term or Year abroad is assessed on a pass/fail basis and will not count towards your final degree classification. Places and destination are subject to availability, language and degree programme. To find out more, please see Go Abroad.
Stage 3
Possible modules may include:
FI584 - The Gothic in Film (30 credits)
This module will investigate "the Gothic" as a significant and recurring cycle within Hollywood film with recognisable tropes and themes, and a dominant tone and style. Beginning with the 1940s cycle of “Women's Gothic” which emerged at the same time as Film Noir, and visually and thematically overlapped with it, the module will explore the particularly filmic ways that such texts manage to evoke the menacing atmosphere and the tone of sexualised danger and suspense achieved by the Gothic’s source novels and short stories. Continuing from the original cycle of films, the module will examine later Hollywood films that have employed the themes and imagery of the Gothic to tap into similar complex anxieties and desires, before inspecting films from other cinemas (for example, those of Europe or Asia) which also make use of the dominant Gothic tropes.
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.
Through technical exercises and presentation of film texts, students will engage with key aspects of non-fiction filmmaking. A series of practical projects will be contextualised through lectures drawing on a number of film texts, looking at examples from the history of the non-fiction film e.g. early cinema, direct cinema, cinema verité, and the film essay. The exercises are an opportunity for students to develop their creative practice. The development of a treatment / proposal leading to the production of final film project will use theory and critical analysis to develop students understanding of documentary practice.
Students will build on existing skills of collaboration (learnt on Exploring the Frame), improving competence in the planning, production and editing of practical, creative work. Students will develop an understanding of crucial aspects of non-fiction filmmaking -- in terms of both theory and practice -- and deepen their skills in the critical analysis of such texts. Students will build on existing skills of relating theory and practice, by analysing the implications (e.g. ideological, ethical) of their production decisions; the course will enhance student's ability to reflect self-critically on their own and other student’s practical work. Skills learnt on the module will contribute (along with Exploring the Frame and Introduction to Screenwriting) to the skills needed to progress to Moving Image Production.
FI622 - Television Series: Narration, Engagement and Evaluation (30 credits)
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.
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.
Students will engage with key aspects of microbudget filmmaking through technical exercises and the presentation of their own films. A series of practical projects will be contextualised through lectures drawing on a number of films, looking at examples from the history of the extremely low budget genres such as horror, crime, independent and experimental films. The exercises are an opportunity for students to develop their creative practice. The development of a screenplay for the final film project will use theory and critical analysis to develop students' understanding of microbudget filmmaking practice.
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.
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.
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.
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 H-level study.
On application, students may take this 30 Credit Year Long module. Admission is subject to approval of a project proposal. Proposals must be submitted to the Module Convenor, Prof. Nicola Shaughnessy (N.Shaughnessy@kent.ac.uk) by 10/04/2016. Within your proposal you must state a preferred supervisor. The proposal form can be downloaded from the School of Arts website, see http://www.kent.ac.uk/arts/current-students/undergraduates.html and click on module availability. Alternatively you can request a copy at Jarman Reception. The Module Convenor will contact you in the summer term to confirm whether your proposal has been accepted. Students wanting to change into ART500 at a later stage may do so but should contact the Module Convenor and submit a proposal at the earliest opportunity. Proposals will not be accepted after 19 June 2016. For more information please speak to the Module Convenor at the School Fair.
The student(s) engage in a work-based situation of their choice [the student will be responsible finding the work-based situation though support from the School and CES will be available] which bears 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.
Issues covered by the course include:
• Work based systems: Nature of organisation; organisational structure; type of work, work practices and procedures, induction, health & safety, training, quality assurance; communication channels and systems
• Performance of professional activity: identification of professional activities, selecting formulating schedule and action plan, perform activities, health & safety, training requirements, support and supervision.
• Potential Improvements: new technology and new/changed work practices or system. Suggestions and evaluation of effects
• Portfolio: methods of gathering, analysing and recording evidence, types of evidence, witness statements, diaries, internal and external correspondence, observed performance; referencing systems; presentation written and verbal
• Self-Presentation: methods of ensuring an effective presentation of personal research, relevant professional skills, communication skills, confidence etc.
You have the opportunity to select wild modules in this stage
Teaching & 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.
Programme aims
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.
Learning outcomes
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.
Intellectual skills
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.
Subject-specific skills
You gain subject-specific skills in the following:
analyse and interpret sounds and images in time and space
draw upon understanding and knowledge of narrative and stylistic forms and structures in film and television
bring together ideas from various sources of knowledge and different academic disciplines
articulate understanding of visual and oral media in a written medium
effectively deploy terms and concepts specific to the study of film and television
where practice modules are undertaken: produce work which demonstrates the effective manipulation of sound, image, performance and, where appropriate, the written word
utilise effectively relevant technical concepts and theories
produce work showing competence in the operational skills of screen production and post-production technologies
initiate, develop and realise distinctive and creative work through group collaboration
manage time, personnel and resources effectively
demonstrate an understanding of communicative strategies specific to film
produce work informed by, and contextualised within, relevant theoretical debates you have studied within the programme as a whole.
Transferable skills
You gain transferable skills in the following:
work in flexible, creative and independent ways, showing self-discipline, including time-management and self-direction, sustain focus and apply attention to detail
organise and manage supervised, self-directed projects and research and evaluate sources in the process of carrying out independent study
communicate effectively and appropriately orally and in writing and, where undertaken, in other media
identify issues and questions and gather, organise and deploy knowledge and ideas to formulate cogent analysis and arguments, make subtle and discriminating comparisons and apply interpretive skills in diverse situations and contexts
work productively in a group, and display an ability, at different times to listen, contribute and lead effectively
show 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.
Careers
By studying Film, you learn to think critically and to work independently; your communication skills improve and you learn to express your opinions passionately and persuasively, both in writing and orally. These key transferable skills are essential for graduates as they move into the employment market.
Recent graduates have gone on to careers in film-making, film and television industries, arts organisations, university and school teaching, local government and business, or to pursue postgraduate academic and practical film courses. In the last few years, students have gone on to take up positions such as film journalists, film/TV archivists and roles in marketing and distribution.
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 the Admissions Office for further advice. It is not possible to offer places to all students who meet this typical offer/minimum requirement.
Qualification
Typical offer/minimum requirement
A level
ABB
Access to HE Diploma
The University of Kent will not necessarily make conditional offers to all access candidates but will continue to assess them on an individual basis. If an offer is made candidates will be required 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 via the enquiries tab for further advice on your individual circumstances.
International Baccalaureate
34 points overall or 16 points at HL
International students
The University receives applications from over 140 different nationalities and consequently will consider applications from prospective students offering a wide range of international qualifications. Our International Development Office will be happy to advise prospective students on entry requirements. See our International Student website for further information about our country-specific requirements.
Please note that if you need to increase your level of qualification ready for undergraduate study, we offer a number of International Foundation Programmes through Kent International Pathways.
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 through Kent International Pathways.
Kent offers generous financial support schemes to assist eligible undergraduate students during their studies. Our funding opportunities for 2017 entry have not been finalised. However, details of our proposed funding opportunities for 2016 entry can be found on our funding page.
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. Details of the scholarship for 2017 entry have not yet been finalised. However, for 2016 entry, the scholarship will be awarded to any applicant who achieves a minimum of AAA over three A levels, or the equivalent qualifications as specified on our scholarships pages. Please review the eligibility criteria on that page.
As a guide only, UK/EU/International students on an approved year abroad for the full 2017/18 academic year pay an annual fee of £1,350 to Kent for that year. Students studying abroad for less than one academic year will pay full fees according to their fee status. Please note that for 2017/18 entrants the University will increase the standard year in industry fee for home/EU/international students to £1,350.
The Government has announced changes to allow undergraduate tuition fees to rise in line with inflation from 2017/18.
The University of Kent intends to increase its regulated full-time tuition fees for all Home and EU undergraduates starting in September 2017 from £9,000 to £9,250. This is subject to us satisfying the Government's Teaching Excellence Framework and the access regulator's requirements. The equivalent part-time fees for these courses will also rise by 2.8%.
For students continuing on this programme fees will increase year on year by no more than RPI + 3% in each academic year of study except where regulated.* If you are uncertain about your fee status please contact information@kent.ac.uk
Key Information Sets
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.