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Film Practice BA (Hons)

Unistats

What is Unistats?

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.

Overview

The big picture

How would you like to develop your own original film projects and screen your final film at an internationally renowned London cinema? In Film Practice you’ll learn the foundational skills of filmmaking, then specialise in Cinematography, Writing/Directing or Editing and Post-Production, honing skills that will make you a valuable asset in the film and media industries.

Creative Skillset
This course is accredited by Creative Skillset. Skillset offers industry focused advice and quality control assurances for staff and students on filmmaking degrees; it offers 24 hour support for industry professionals, liaises with government, and it now delivers the BFI's Future Film Skills training.

Why Film at LSBU?

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.
Our multi-million pound  Elephant Studios, with facilities including studios, cinemas, games design centre and digital design suites
Satisfaction: we’re London’s no 2 for student satisfaction with teaching and assessment in Film Production and Photography (Guardian League Table 2018)
Professional links: from Channel 4 to Saatchi and Saatchi, we have the contacts to help you build a valuable network, with work experience that really makes a difference
Be seen: LSBU alumni have screened at Portobello Film Festival, White Sands International Film Festival, Cinemagik Short Film Festival in Malta and many more
Location: with 15 large international media companies, television companies and theatres on our doorstep, this is the place to be.
Top 5 in London for student satisfaction and graduate prospects in Drama, Dance & Cinematics (Complete University Guide 2019).

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

Key course information - ordered by mode
Mode Duration Start date Location
Mode
Full-time
Duration
3 years
Start Date
September
Location
Southwark Campus

Case studies

Modules

During the course, you'll learn to analyse the way films are constructed, how to express yourself through creative media practice and perform specific roles in the film production workflow according to industry standard practices. You’ll 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. When you graduate, you should have a professional portfolio that meets the current demands of the industry.

Year 1

  • 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%.

Year 2

  • 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

  • Screenwriting
    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%).

Cinematography pathway

  • 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%).

Year 3

  • 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%).

Employability

Studying film in London puts you at the centre of the filmmaking business. You’ll leave the course with a showreel you can be proud of, confident in your knowledge and ready to take your first steps in a professional career in the film, television and media industries. This course is also excellent if you want to make a career change, or focus, enhance or update your current media skills.

Take a look at some potential careers, including film/video editor, in our Prospects section.

You could also apply for further study at postgraduate level. Some of our postgraduates have presented at the British Film Institute and we’ve seen our students win prizes at major festivals.

Employability Service

We are University of the Year for Graduate Employment - The Times and Sunday Times Good University Guide 2018.

At LSBU, we want to set you up for a successful career. During your studies – and for two years after you graduate – you’ll have access to our Employability Service, which includes:

  • An online board where you can see a wide range of placements: part-time, full-time or voluntary. You can also drop in to see our Job Shop advisers, who are always available to help you take the next step in your search.
  • Our Careers Gym offering group workshops on CVs, interview techniques and finding work experience, as well as regular presentations from employers across a range of sectors.

Our Student Enterprise team can also help you start your own business and develop valuable entrepreneurial skills.

Placements

Staff


Chris Elliott

School/Division: Arts and Creative Industries / Film and Media
Job title: Head of Film and Media

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 Hawkins

School/Division: Arts and Creative Industries / Film and Media
Job title: Senior Lecturer 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

School/Division: Arts and Creative Industries / Film and Media
Job title: Senior Lecturer in Film 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

School/Division: Arts and Creative Industries / Film and Media
Job title: Senior Lecturer

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.


Facilities

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.

  • Film Studio and Soundstage

    Film Studio and Soundstage

    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.

  • Editing Suites

    Editing Suites

    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.

  • Grading Suites

    Grading Suites

    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.

  • Sound Studio

    Sound Studio

    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.

  • Screening Cinema

    Screening Cinema

    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.

  • Mac Lab

    Mac Lab

    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 Elephant Studios. Here, you will have access to 4K Digital Cinema Cameras, 4K Cinema and Film Studio, along with a range of HD cameras, photographic studios, field sound recording equipment and computer labs with high-spec computers supporting cutting-edge video and multimedia software.

Percentage of time spent in different learning activities
Time spent in lectures and seminars Self-directed learning Placement
Year 1 25% 75% 0%
Year 2 27% 70% 3%
Year 3 15% 85% 0%

Personal Tutoring

As an undergraduate Arts and Creative Industries student, you will be allocated a named tutor during your first three weeks at LSBU.  The role of your tutor is to be your primary contact for academic and professional development support.

Your tutor will help you get the most out of your time at LSBU, providing advice and signposting to other sources of support in the University.  

Your tutor should be the first person at the university that you speak to if you are having any difficulties that are affecting your work. These could be academic, financial, health-related or another type of problem.

You will have appointments with your personal tutor at least once a semester for 20-30 minutes throughout your course.   You can contact your tutor for additional meetings or support by email.

Entry requirements

2018 Entry

  • 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.

Instructions for Home/EU applicants
Mode Duration Start date Application code Application method
Mode
Full-time
Duration
3 years
Start date
September
Application code
W690
Application method

For full-time courses, please send your applications through the Universities and Colleges Admissions Service (UCAS) using our code L75. UCAS is the organisation responsible for managing applications to higher education courses in the UK.

For part-time courses, you can apply directly to the University.

For more details on how to apply (full-time and part-time) see our how to apply page.

International students can either apply through UCAS or directly to LSBU. See the international how to apply page for details.

Accommodation

Once we have made you an offer, you can apply for accommodation. You can rent from LSBU and you’ll deal directly with the university, not third party providers. That means we can guarantee you options to suit all budgets, with clear tenancy agreements and all-inclusive rents that include insurance for your personal belongings, internet access in each bedroom and on-site laundry facilities.

Or, if you’d rather rent privately, we can give you a list of landlords – just ask our Accommodation Service.

Read more about applying for accommodation at LSBU.

Finance

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 Bursaries Team on: +44 (0)20 7815 6181.

Full-time
The fee shown is for entry 2018/19.
UK/EU fee: £9250International fee: £13125
AOS/LSBU code: 4494Session code: 1FS00
Total course fee:
UK/EU £27750
International £39375

Fee prices

For more information, including how and when to pay, see our fees and funding section for undergraduate students.

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.

Possible fee changes

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%.

Scholarships

We offer several types of fee reduction through our scholarships and bursaries. Find the full list and other useful information on our scholarships page.

Case studies

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.

  • Amy Delooze, BA (Hons) Digital Film and Video

    Amy Delooze, BA (Hons) 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.

  • Louis Facey, BA (Hons) Digital Film and Video

    Louis Facey, BA (Hons) Digital Film and Video

    Our new media facilities are helping LSBU’s multimedia students keep one step ahead of the film-making crowd.

  • Kurt Ryan, BA (Hons) Film Studies, Universal Studios internship

    Kurt Ryan, BA (Hons) Film Studies, Universal Studios internship

    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

    Lewis Hancox, BA (Hons) Film Practice

    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

    Nic Sanchez, BA (Hons) Film Practice

    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, BA (Hons) Film Practice

    Pablo Segovia, BA (Hons) Film Practice

    Pablo Segovia's film 'Outsiding' won 'Best Experimental Film' at the Screentest National Student Film Festival.

  • Arts and Media film

    Arts and Media film

    Watch a video of the 2013 degree shows at venues such as the British Film Institute (BFI) and Bermondsey Project Space.

  • Borough Road Gallery

    Borough Road Gallery

    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

Applicant events

After you’ve received your offer we’ll send you emails about events we run to help you prepare for your course. 

Enrolling

Before you start your course we’ll send you information on what you’ll need to do before you arrive and during your first few days on campus. You can read about the process on our new students pages.

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.
 
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Open Days and Events
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Contact information

Course Enquiries - UK/EU

Tel: 0800 923 8888

Tel: +44 (0) 20 7815 6100

Get in touch

Course Enquiries - International

Tel: +44 (0) 20 7815 6189

Get in touch
 
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