Film Practice BA (Hons)
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Key Information Set (KIS) Data is only gathered for undergraduate full-time courses. There are a number of reasons why this course does not have KIS data associated with it. For example, it may be a franchise course run at a partner college or a course designed for continuing professional development.
Develop and produce your own original film projects, learn creative film-making skills ranging from the technical to the intellectual, and work to industry-led briefs. Pathways in: writing and directing, cinematography, and editing and post-production.
7 reasons to study here
- Ultra HD Technologies: Use the latest HD and Ultra HD camera technologies, both 4K and 2.5K, with the choice to focus on production, post-production, screenwriting and film criticism in your second and third year.
- Industry expertise: All of our specialist staff work (or have worked) in the film and television industry - and they have contacts with key production and post-production facilities and organise masterclasses with industry professionals.
- Multi-million pound Elephant Studios: Arri Cameras, Dolby Atmos Surround Sound studios and cinemas, grading suites, news room and games design centre, digital design suites, and industry-ready film and photographic studios.
- Happy students: No. 2 University in London for student satisfaction with teaching and assessment in Film Production and Photography (Guardian League Table 2018) and for Academic support, learning community and student voice in Cinematics and Photography (National Student Survey 2017)
- Work experience: Past students worked at Channel 5, Channel 4, ITV, BBC, Saatchi and Saatchi, TRACC Films, The London Studios and a host of independent film and TV production companies.
- Screen at international festivals: Past students have screened at Portobello Film Festival, White Sands International Film Festival, First Annual Hackney Film Festival, Cinemagik Short Film Festival in Malta and Screentest: The National Student Film Festival.
- Inspiring location: We have 15 large international media companies on our doorstep as well as television companies, some of the finest theatres in the world and a thriving start-up economy.
This course covers...
- Ultra high definition cinematography
- Sound design for film
- Colour grading
I've experimented with filmmaking in ways I never thought I would, and I can implement those newfound techniques in my freelance work. I want to make films that change the world and open people's eyes. It's all about reaching people.
Lewis Hancox, BA (Hons) Film Practice
Being so close to the media epicentre of London was a big part of the decision-making process. The British Film Institute and the artistic culture of the South Bank is just a short walk away from campus, which I thought would be a great way to complement my studies.
Nic Sanchez, BA (Hons) Film Practice
Before 2015 entry this course was previously titled Digital Film and Video.
Digital Film and Video third year student Amy Delooze discusses how the multi-million pound Elephant Studios inspired her to pursue a dream encounter with Harry Potter director David Yates.
Our new media facilities are helping LSBU’s multimedia students keep one step ahead of the film-making crowd.
The Film Practice course offers a thorough grounding in filmmaking while allowing students to choose between three industry focused pathways of study, so you can pursue the aspects of filmmaking that interest you most. This means that you leave the course with specialist skills in your chosen area, skills that will be readily identifiable to prospective employers. These range from the operation of high-end Arri cameras, to professional editing and grading workflows, and to the roles of writer, director and producer, both in the context of film and in the wider realm of contemporary media production and delivery.
You'll study ideas of representation and film reception, and analyse developments in film and video in contemporary media culture, as well as the business side of working in the film industry. You’ll do an accredited work placement and work with state of the art facilities on projects with high definition cinematography, digital editing and advanced post-production, whilst also learning how to write and pitch your own screenplays and film treatments. Your three years of study also allows you the opportunity to develop a professional portfolio capable of meeting the demands of the industry on graduation.
Modules are assessed by a combination of film briefs, verbal presentations, essays, screenplays and film treatments. Course is 96% assessed by coursework of the above types.
- Physical film making
This is a practice-based film making module that helps you to practically learn the techniques and technologies for moving the camera. These skills are learnt in the context of thinking about what bodies on screen bring to our experience of films, including ideas of identity and difference, the dynamism and energy of movement itself, and the metaphorical potential of physically embodied and performative people and characters. Short 3 minute film (30%) and a short group-based video project 70%.
- Video technology
This module introduces working with digital video cameras, lights, sound and video editing software. You'll light and shoot a short scene consisting of a conversation between two people. In the process you'll be introduced to what it means to ‘cover’ a scene, and to the practicalities of editing together sound and image from different shots and different takes. You'll also be introduced to key production management skills such as: scheduling, call sheets and budget considerations. Assessment: 100% coursework, made up of 2 minute video group -work (60%) and individual reflection (40%).
- Documentary theory
This module explores the history of documentary film making along with the theoretical frameworks that shape our understanding of its claims to represent the world. A 12-week screening programme introduces you to the major documentary modalities, including those that problematise notions of truth, history and objectivity. We'll also consider how technological, ideological and aesthetic factors impact upon documentary film making and its reception. Assessment: coursework 100%, in two parts: sequence analysis of a film (30%) and essay (70%).
- Documentary practice
In this module you'll conduct research into a documentary subject and collaboratively develop and produce a short documentary film. We'll explore different conventions, styles and methodological frameworks for creating compelling non-fiction stories and experiences. This exploration will encourage you to reflect on the ethical and aesthetic implications of certain approaches, and will guide you as you negotiate the difficult matter of representing real events and people while simultaneously managing the challenges of film production. You'll develop your pitching skills and the importance of group work and project selection processes. Assessment: pitch and portfolio (30%), plus group production of a documentary (70%).
- Editing and montage
This offers both practical training in the use of post-production software, and practice-led seminars that explore the history and theory of montage. You'll explore editing techniques while thinking conceptually about what editing means in different contexts. This module will develop your practical skills and introduce you to different theoretical and ideological approaches to editing, from the political formalism of dialectical montage, to the poetics of collage, and the suturing instinct of continuity editing. Assessment: 3 minute montage (70%) and written analysis (30%).
- Sound recording
The goal of this module is to achieve recording of the highest quality location sound to best facilitate your film making ambitions. Sound is the one element that will most expose any shortcomings in your film production standards, and getting to grips with the basics here will go a long way towards improving the quality of your films. A big part of learning to record great sound is learning to listen, which in turn requires an understanding of the characteristics of different kinds of sound and the behaviour of sound in different environments. Such considerations as these are central to the module, while instruction on the most common film making situations and the most common problems encountered when recording sound will give you a firm grounding in sound recording techniques and technologies. You can pursue an interest in sound further by enrolling on optional modules in sound editing and sound design in your second year. Assessment: short drama with sound (group work) - 100%.
- Film analysis
This module includes a film screening series, lectures and seminars designed to explore the way dramatic narratives work and are constructed. Narrative Theory in the context of Film is about the relationship between characters in a film, between author and text, and between text and audience. How do we know what we are expected to know when watching a film? How are our sympathies provoked and our curiosity stoked by onscreen drama? The module will culminate in a 2000 word essay focused on an aspect of narrative screen theory that is intended to help you better understand how narrative works on screen and how you might thereby develop your own original screen narratives. Assessment: 2000 word essay (100%)
- Professional employability
The production of film and video is almost always a collaborative exercise in some form or another. In the industry this means that teams of people, rather than the lone individual, predominantly produce work. This module offers you the opportunity to gain experience of work within the media industries through placement, shadowing experience or industry engagement. A placement will typically be for two weeks and students will be required to reflect upon the culture, conventions, practices, power hierarchies and representations of the organisation. The focus will be on identifying what is happening in your chosen sector in terms of trends, issues and markets. Assessment 100% coursework made up of a 5 minute presentation (40%) and a 2000-word report (60%).
- Introduction to cinematography
In this module we'll use both skills-based training in the use of High Definition (HD) cameras as well as the study the techniques and aesthetics of cinematography. You'll be exposed to the particular demands and possibilities of working with High Definition cameras and editing workflows, and will be asked to shoot scenes according to specified aesthetic and dramatic criteria. You'll be encouraged to work from their own scripts as developed in the adjacent film making workshops. Assessment: group video (60%), plus treatment and evaluation (40%).
Plus one of either:
- Collaborative practices
In this module we bring together students from across multiple creative media disciplines to collaboratively address a conceptually framed brief, and to see a project through from initial idea to final production. The module will set a range of project briefs options related to contemporary events, situations and issues, and you'll be involved in working collaboratively on all stages in the production of work. We'll reflect on how different media technologies and aesthetic strategies enable us to frame our embodied experience of the world both for ourselves, and in the form of representation, for others. The module’s key practice concerns are collaboration, team-working skills and professional engagement. As such, it's a major opportunity to work with fellow students from different subject disciplines to gain experience of creative collaboration; bringing differing skills, experiences and perspectives together to produce a creative output for exhibition or event or festival accessible to a wider public audience. Assessment: 100% coursework portfolio.
- Sound on film
It is relatively easy to render high quality HD images with even the simplest cameras – it is more challenging to record and mix high quality sound. This module is designed to develop your confidence in working with music and sound and it starts with the concept of ‘sonic objects’ and ‘visual events’. The key concern is that music and sound design for film demands creative and technical planning for good recording, mixing and final sweetening of the soundtrack. You'll build on technical and analytical skills acquired in the first year through the production of a comprehensive sound design for a film sequence or trailer. You'll work with both source and original sound and music, critically investigating how mood and meaning is constructed through the dialogue between the image and sound tracks. Assessment: sound design for a 3 minute film sequence, plus a 1000 word reflective and evaluative statement.
Writing and directing pathway
In this introduction to writing the short film you'll develop and write an original 10-minute screenplay for a short narrative drama. You'll explore the nature of narrative screen drama, and take part in research and development workshops, generating new ideas, while considering the complex relationship between the script and the screen. You'll analyse structure, plotting and setting, learn the difference between exposition and dialogue, while also thinking about such matters as point of view and mise-en-scene as narrational tools. Assessment: 100% coursework made up of 10-minute screenplay (70%), 1-page treatment (10%) and 500-word reflection of scholarly and trade literature (20%).
- Directing and producing
Incorporating pre-production and production techniques, working with actors and directing screen drama, this module explores the importance of planning, research and development both for the producers and directors of short dramas, but also for small film crews. We'll explore the roles and responsibilities, as well as the management issues involved in producing and directing. You'll develop an understanding of the range of skill sets involved in these roles. Assessment: 100% coursework made up of a 7-10 minute film drama (group-project) and individual critical reflection (30%).
- Lighting and electrical
This module is substantially technical in its orientation, but with the ultimate goal of enabling you to achieve the aesthetic quality in your film images that will best serve the drama. You can expect to become more confident and safety minded when working with lights and electrical power, but also to become more confident in your ability to realise a certain look on camera. You'll produce a series of filmed scenes that use natural light, studio lighting and on-location lighting setups with the ambition of illustrating different cinematic styles. Assessment: group work (60%) and an individual production book (30%).
- Director of photography
In addition to studying the role of Director of Photography (DoP), you'll receive extensive training in the use of digital cinema cameras, such as the Arri Alexa, Arri Amira, and the Alexa Mini, cameras that are capable of shooting in Log C format and 4K Raw. These cameras are designed to emulate the look of celluloid based film cameras, but also provide enormous flexibility in post-production to produce images to suit a range of high-end needs. The Director of Photography is responsible for what a film looks like, typically lighting and framing each shot, often operating the camera, while also working closely with the lighting department and with the director. In this module you will become accustomed to the on-set relationships that facilitate this pivotal crew role, and with the technical workflow that allows all crewmembers to work together efficiently to realise the director’s vision. Assessment: a short drama, group project (80%) plus your critical reflection (20%).
Editing and post-production pathway
- Colour grading
Working with camera footage shot in Log format (Log C encoding), such as on the Arri Alexa, gives you the greatest dynamic range (the most information in both highlights and shadows), but also demands colour grading to correct what looks like a washed out, low contrast image. This is just the most recent development affecting the job of the colour grader, who otherwise works to ensure that all shots in a continuity sequence are colour matched, while also achieving the colour and contrast that match a director’s aesthetic criteria (the look of a film). This module is technical in its focus, giving you an experience of working to industry standards and according to established workflows in professional colour grading suites, using footage shot on High End digital cinema cameras. Assessment: supplied shots and scenes colour corrected (60%) and production workbook (30%).
- Editing drama
This module provides skills-based training on editing software and workflows, along with practice-led seminars that explore the particular creative challenges of sound and image in continuity editing for drama. You'll explore concepts of spatial continuity and the key techniques for creating temporal, graphic and rhythmic relationships in their edits. It is important that you recognise the art of editing beyond the simple metrics of the cut, so the module will also examine theoretical and practical approaches to temporal decompression, retrospective signification and syncopated editing. You'll be working with the writing/directing and cinematography pathway students, further developing the system of feedback where learning outcomes in one part of the course feed into another. Assessment: short edited film (60%) plus reflective evaluation (40%).
- Research project
The final year Research Project gives you the opportunity to conduct original research in an area of your degree or field of interest. You'll demonstrate high-level academic /case study research skills, relevant to your subject and professional interests. The Research Project follows on from L5 Practice and Theory modules and allows you to use any of the concepts, practices and methods encountered on your course to resolve your personal project. You'll manage their own learning under the guidance of their supervisor. You'll have the option of submitting a 6,000-word Research Paper or a portfolio of case study research (50%) supported by a 3000 word reflective essay (50%).
- Future film practice
This module allows you to produce an advanced, final film project, produced to a standard that is capable of attracting the interest of employers, future funders and collaborators. To this end you'll receive a combination of film production workshops and tutorials, visiting industry speakers, as well as sessions giving them a perspective on the state of the film and media industries now and the role of the producer in the contemporary context. All of this is designed to give you the best chance to present your skills and outputs to audiences and professional industry practitioners alike, beyond graduation and into your future careers. Assessment: 100% coursework made up of film production (group or individual) 70%, plus showreel 90-120 seconds (15%) plus a written and researched proposal for a new film production company (15%).
Plus one of either:
- Brief-led project
By now you'll know that it is possible to analyse the work of contemporary filmmakers in terms of the issues and concerns that they address. This module reverses the equation and asks you to work from a theme or structural form attached to debates and issues in film culture and the film business. The module asks you to develop work in which you draw specific connections between the work of theory and the work of practice working from a specific brief. The aim of the module is to give you an opportunity to experience the discipline of working from predetermined subjects or formal constraints, which will emulate the conditions of industry and professional practice. The module will present an overview of the issues and debates facing the film business with the implications of new technologies and new modes of working practices. Assessment: professionally realised film based on a brief, plus an 800-word reflective statement.
- Film reviewing and curation
This module introduces you to concepts and practices of both film reviewing in a number of contexts, and film curation, including archiving. It'll outline the milieus of the film review in relation to other areas of film writing such as film criticism and film theory, and provide you with an opportunity to practice film reviewing by publishing to a student-owned blog on the WordPress platform. In addition, we'll explore film curation and the role of the film curator within the spaces of the art gallery as well as the wider film industry. We'll chart the changes that have occurred in film programming over the past decades and explore the important contribution of film festivals to the production industry, and the role of the film archive in a digital context. As part of the module, you'll gain experience in programming an original idea of your own for a film festival or curation event. Assessment: x2 film review blog posts (50%) and a film festival or curation event proposal of 1500 words (50%).
Plus one of the following pathways
- Writing and directing pathway
Final film plot. This module asks you to prepare and produce a script and/or portfolio that serves as the template for their Final Film, along with a short video prototype, or pilot, that explores the aesthetics and practicalities of the film idea. Students will be required to engage both with the limitations of the final film brief, a five to fifteen minute film or video, and the demands of writing for their chosen genre or mode of production. Assessment: 100% coursework made up of a pre-production portfolio and a film pilot (group-work).
- Cinematography pathway
Camera Department. In this module you'll focus your attention on the collaborative processes, technical intricacies and creative techniques of the camera department, from the role of DoP, to 1st and 2nd Camera Assistants, including the role of Clapper Loader. Working with drafts of short, fiction screenplays or scenarios derived from the Writing/Directing pathway, you'll work in teams and collaborate with other departments to shoot material for the Final Film Pilot. To this end you'll collaborate with the 1st and 2nd Assistant Directors and Script Supervisors from the Writing/Directing Pathway to ensure that shot logs are properly recorded, continuity is maintained and all media finds its way to the Editing Department via the person responsible for Digital Intermediate Transfer (DIT). Assessment: film sketch group-work (70%) and reflective statement (30%).
- Editing and post-production pathway
Visual Effects. This module provides skills-based training in the use of VFX software and Motion Capture technologies to give you a grounding in this rapidly evolving area of technical and creative production and post-production. In this module we'll explore how material is originated, as well as the historical and contemporary workflows adopted by the industry. Through a range of practical projects, a core set of skills will lay the foundation for students to develop an industry focused skill-set, to work collaboratively with other filmmakers and designers, and to develop a Showreel capable of attracting the attention of employers. Assessment: creative portfolio (70%) and presentation of research (30%).
This course will equip you with the skills to work in fiction, documentary or experimental film production, and within the advertising, television, film and online industries in commercial video, video art, postproduction, video editing, scriptwriting and directing. This is also an excellent course if you want to make a career change within these industries or enhance your current media skills.
Recent graduate Edd Chettleburgh had his final year film Promises (2016) screened and awarded at Discover Film Festival London (Best Micro Budget film) and NYC Indie Film Awards (Best Cinematography, Silver Award) while Garreth Pugh edited the award winning short TRiGGA (2016), directed by Film Practice lecturer Meloni Poole.
Careers in film and video
This is an entry-level position. Runners help out on all manner of tasks – from fetching items and making sure the set is tidy, to making the tea. It may not always be glamorous, but it's essential experience for those wanting to make a breakthrough in television or film. Runners need to have strong communication and interpersonal skills, as well as being fast-thinkers and enthusiastic. Once runners have gained a couple of years' experience and understood many different aspects of the business, they may choose to specialise in a certain field.
Production assistants are responsible for making sure a whole range of things run smoothly – from getting permission to use copyrighted materials like sound recordings, to booking studios and attending production meetings.
Production assistants can often be freelancers, or booked on short-term contracts. In salaried positions, earnings can range from £14,000 to £25,000. Hours tend to be long, and the work intense, although again – it can be invaluable experience for budding producers and directors. (All About Careers)
A different option is to work in video editing. A large amount of video editors are self-employed. Full-time established video editors can earn up to £25,000, although starting out on a lower wage in a junior position is quite likely. (Prospects).
Progressing to postgraduate
If you graduate from this course, you will be able to apply for further study at postgraduate level.
Past students have presented at the British Film Institute and the city's Renoir and Curzon cinemas. We've also seen our students win prizes at major festivals, including the City of London Film Festival.
LSBU Employability Service
We are University of the Year for Graduate Employment - The Times and Sunday Times Good University Guide 2018
LSBU is committed to supporting you develop your employability and succeed in getting a job after you have graduated. Your qualification will certainly help, but in a competitive market you also need to work on your employability, and on your career search.
As an LSBU student you have access to the Employability Service and its resources during your time here and for two years after you graduate.
Our Employability Service will support you in developing your skills, finding a job, interview techniques, work experience or a placement/internship, and will help you assess what you need to do to get the career you want at the end of your course. LSBU offers a comprehensive Employability Service, with a range of initiatives to complement your studies, including:
- Direct engagement from employers who come in to network with students
- Job Shop – daily drop in service to help with, tailoring CVs, cover letters and applications, sourcing online resource, mock interviews and general job searching. One to one appointments for further support also available
- Mentoring and work shadowing schemes
- Higher education achievement report - The HEAR is designed to encourage a more sophisticated approach to recording student achievement, which acknowledges fully the range of opportunities that LSBU offers to our students.
It pulls into one certificate: Module grades, Course descriptions, Placements, LSBU verified extra-curricular activities
- Employability workshops - delivered free to students all year round on a variety of related topics
- Careers fairs throughout the year to really focus your thoughts on a career after university
In Professional Film Practice you'll undertake an official work placement. Our students have secured work experience at Channel 5, Channel 4, ITV, BBC, Arri rental, BFI, Halo Post Production, Parlophone Records, Vogue, Spun Gold TV, DMLK Video, InDigital Images and Camberwell Studios Many of these students have secured ongoing employment with these same companies or even moved on to more senior roles. For example, two of our alumni, Lauren Holden and Alistair Holloway, currently work for the BBC, Lauren as producer at BBC Worldwide, while Alistair is camera operator and DIT technician. Megan Zoe Garrett works for games company SEGA Europe as Digital Distribution Assistant.
Dr Tarrant is a filmmaker whose primary interest is in experimental and documentary filmmaking and the expressive possibilities of montage.
Chris Elliott leads the Division of Film and Media in the School of Arts and Creative Industries. His research interests are focused on film music, music as drama, and audio and visual specularity and immersion in film practice.
Matthew is a filmmaker and film-thinker. His research interests include film practice, focusing on affect and tone in narrative cinema, documentary film, and experimental practice.
Ben Mallaby is a BAFTA-nominated comedy director of commercials and short films for festivals and online. He has recently completed a six-part web series for BBC3 with Tiger Aspect called ‘Climaxed’. He’s had films screen at the BFI London Film Festival and win awards internationally.
Meloni Poole is a writer and director who has made films for Channel 4, the British Film Institute, the Arts Council of England, Channel 4 and Film4. She is currently making TRiGGA, commissioned through the Creative England and BFI Network I-Shorts scheme.
We've invested heavily in our on-campus facilities to ensure that our students and commercial partners have access to leading-edge digital technologies and fit-for-purpose spaces for creative practice.
The Film Studio is a double-height room with a lighting grid, DMX lighting control, green screen backdrop, air conditioning, green room (for make-up and wardrobe) and sound isolation for use as a soundstage.
The seven Editing Suites are ideal for editing video, sound and recording quick voice-overs. All suites are networked with ultra-fast 10Gb/s network, making it possible to edit and grade, whilst sharing production files at speed.
The Grading Suites have neutral wall colours and lighting to provide optimal conditions for the colourist. The premium suite (Grading Suite 1) includes a Dolby calibrated screen to ensure ideal conditions.
The Sound Studio features a control and live room, ideal for post-production work, mixing and recording small bands. Both rooms are acoustically treated and isolated.
This 36 seat cinema features a 4K projector and 5.1 sound playback, and is ideal to preview production work before it goes out to the public.
The Elephant Studios at LSBU Mac Lab is fitted with Quad-Core and Dual GPU MacPros, available for digital media workshops and unsupervised student work.
Teaching and learning
Your practical work will be supported by a team of Technical Tutors and will utilise our resources in the Keyworth Arts and Media Centre. Here, you will have access to a range of HD cameras, photographic studios, field sound recording equipment, DSLR cameras and five labs with high-spec computers supporting cutting-edge video and multimedia software.
|Time spent in lectures and seminars||Self-directed learning||Placement|
- A Level BCC or;
- BTEC National Diploma MMM or;
- Access to HE qualifications with 9 Distinctions 36 Merits or;
- Equivalent level 3 qualifications worth 106 UCAS points
- Applicants must hold 5 GCSEs A-C including Maths and English or equivalent (reformed GCSEs grade 4 or above)
- We welcome qualifications from around the world. English language qualifications for international students: IELTS score of 6.0 or Cambridge Proficiency or Advanced Grade C.
How to apply
International (non Home/EU) applicants should follow our international how to apply guide.
|Mode||Duration||Start date||Application code||Application method|
All full-time undergraduate students apply to the Universities and Colleges Admissions Service (UCAS) using the University's Institution Code L75. Full details of how to do this are supplied on our How to apply webpage for undergraduate students.
All part-time students should apply directly to London South Bank University and full details of how to do this are given on our undergraduate How to apply webpage.
Students should apply for accommodation at London South Bank University (LSBU) as soon as possible, once we have made an offer of a place on one of our academic courses. Read more about applying for accommodation at LSBU.
It's a good idea to think about how you'll pay university tuition and maintenance costs while you're still applying for a place to study. Remember – you don't need to wait for a confirmed place on a course to start applying for student finance. Read how to pay your fees as an undergraduate student.
Fees and funding
Fees are shown for new entrants to courses, for each individual year of a course, together with the total fee for all the years of a course. Continuing LSBU students should refer to the Finance section of our student portal, MyLSBU. Queries regarding fees should be directed to the Fees and Bursary Team on: +44 (0)20 7815 6181.
|UK/EU fee: £9250||International fee: £12500|
|AOS/LSBU code: 4494||Session code: 1FS00|
|Total course fee:|
For more information, including how and when to pay, see our fees and funding section for undergraduate students.
Possible fee changes
Current regulatory proposals suggest that institutions will be permitted to increase fee levels in line with inflation up to a specified fee cap. Specifically, LSBU may be permitted to increase its fees for new and existing Home and EU undergraduate students from 2017/18 onwards. The University reserves the right to increase its fees in line with changes to legislation, regulation and any governmental guidance or decisions.
The fees for international students are reviewed annually, and additionally the University reserves the right to increase tuition fees in line with inflation up to 4 per cent.
We offer students considerable financial help through scholarships, bursaries, charitable funds, loans and other financial support. Many of our scholarships are given as direct tuition fee discounts and we encourage all eligible students to apply for our Access Bursary. New home full-time undergraduate students meeting eligibility criteria could receive a £1,000 cash bursary by joining us in the 2017/18 academic year. Find out more about all our scholarships and fee discounts for undergraduate students.
As well as being potentially eligible for our undergraduate scholarships, International students can also benefit from a range of specialist scholarships. Find out more about International scholarships.
Please check your fee status and whether you are considered a home, EU or international student for fee-paying purposes by reading the UKCISA regulations.
Select a case study and read about practical project work, students' placement experiences, research projects, alumni career achievements and what it’s really like to study here from the student perspective.
Digital Film and Video third year student Amy Delooze discusses how the multi-million pound Elephant Studios inspired her to pursue a dream encounter with Harry Potter director David Yates.
Our new media facilities are helping LSBU’s multimedia students keep one step ahead of the film-making crowd.
Kurt is studying BA (Hons) Film Studies at London South Bank University and is currently part-way through a 12 month internship at Universal Studios.
Lewis Hancox, BA (Hons) Film Practice, made it onto The Guardian's list of top 30 young people in digital media in 2014.
Nic Sanchez, BA (Hons) Film Practice, came to LSBU to pursue his true passion after working as a skills trainer at a large technology outsourcing company in the USA.
Pablo Segovia's film 'Outsiding' won 'Best Experimental Film' at the Screentest National Student Film Festival.
Watch a video of the 2013 degree shows at venues such as the British Film Institute (BFI) and Bermondsey Project Space.
The gallery is a home for visual art and a unique part of the University's heritage. Opened in 2012, the Borough Road Gallery contains valuable and significant works of Post War British Art in a public collection, produced by the celebrated artist and teacher David Bomberg (1890-1957).
Prepare to start
We help our students prepare for university even before the semester starts. To find out when you should apply for your LSBU accommodation or student finance read the How to apply tab for this course.
Applicant Open Days
To help you and your family feel confident about your university choice we run Applicant Open Days. These are held at subject level so students start getting to know each other and the academic staff who will be teaching them. These events are for applicants only and as an applicant you would receive an email invitation to attend the relevant event for your subject.
Enrolment and Induction
Enrolment takes place before you start your course. On completing the process, new students formally join the University. Enrolment consists of two stages: online, and your face-to-face enrolment meeting. The online process is an online data gathering exercise that you will complete yourself, then you will be invited to your face-to-face enrolment meeting.
In September, applicants who have accepted an unconditional offer to study at LSBU will be sent details of induction, which is when they are welcomed to the University and their School. Induction helps you get the best out of your university experience, and makes sure you have all the tools to succeed in your studies.
Preparatory Reading List
- Rabiger, M. (1997) Directing the Documentary. London: Focal Press.
- Bordwell, D and Kristin Thompson (2009) Film Art: An Introduction.
- Mascelli, J.V (2005) The Five C's of Cinematography: Motion Picture Film Techniques. Los Angeles: Silman-James Press.
- Chion, M (1994) Audio-vision: Sound on Screen. Edited and translated by Claudia Gorbman, with foreword by Walter Murch. New York: Columbia University Press.
Course Enquiries - UK/EU
Tel: 0800 923 8888
Tel: +44 (0) 20 7815 6100Get in touch
Course Enquiries - International
Tel: +44 (0) 20 7815 6189Get in touch
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