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Film Studies 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

For film fanatics

This dynamic course combines film theory, world cinema studies and video-making practice to give you a comprehensive, critical study of film. Our focus is on the cultural, aesthetic and economic importance of film, past, present and future. You’ll acquire an extensive filmic knowledge and learn to analyse film in all forms. As a student in one of the world’s cultural capitals, you’ll have the British Film Institute and media industries on your doorstep.

We offer the opportunity for all undergraduate Home/EU students to undertake a work placement, internship or work experience while studying a full-time course starting in September 2018.

Screening cinema - Elephant Studios at LSBU

Why study Film at LSBU?

No. 1 London modern university for student satisfaction in Communication and Media Studies (Complete University Guide 2019).
Watch a lot of great films: lectures and seminars are accompanied by weekly film screenings and interactive seminars.
Courses are taught by industry active practitioners with excellent links to arts and media organisations.
Our multi-million pound Elephant Studios, with facilities including studios, cinemas, games design centre and digital design suites.
Inspiring location: a short walk to the British Film Institute, the BFI Library and BFI Mediatheque.
Professional links: 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.
Top 2 amongst London competitors for academic support and student voice in Cinematics and Photography (National Student Survey 2018).
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

You’ll study film texts, film histories and national cinemas and use that knowledge to make films that break the mould. We’ll explore world cinema history, the future of film in a globalised world of digital media and the importance of film (culturally, aesthetically, politically and economically). You’ll also learn how to present your ideas in an engaging and professional way; you’ll make short films, deliver great presentations, write short screenplays and produce film production dossiers.

Methods of assessment for course overall: 83% coursework.

Year 1

  • Reading the screen: theory and aesthetics
    This module develops and builds on the content covered in ‘Reading the Screen: Analysis and Design’ and introduces you to a range of theoretical approaches to the study of film. We'll introduce the role of film theory as a way of understanding and analysing movies. This module concentrates on a selection of Anglo-American and European film and narrative theory. There will be screenings of films throughout the module to explore the complex and meaningful dialogue between the analysis of film form and aesthetics and various theoretical approaches. Assessment: Group presentation and critical reflection (40%) and 1,500-word essay (60%).
  • The rise of cinema: history and diversity 
    The received opinion of film history is that out of an initial period of incredible diversity of purpose and form arose a 'dominant' mode of narrative film which we still see, more or less intact, today. This module charts this journey in the film's development, from the late 19th century to contemporary digital cinema, exposing the diversity and testing some of the central assumptions of text-book film history. We'll look at the historical development of cinema and the film industry from its outset through to the Post World War II era up until today’s digital cinema manifestations. The social and cultural significance of cinema is examined at key points, illustrating how a knowledge of history can deepen our understanding of film texts and contribute to a ‘historiography’ of the moving image. Assessment:500-word essay introduction and conclusion (30%) and 1,500-word essay (70%).
  • Reading the screen: analysis and design
    This module introduces you to a range of different approaches to the study of film. We'll introduce you to a range of narrative and non-narrative forms and offers a basic introduction to film style with a focus on the elements of mise-en-scene, camera work, editing and sound. The emphasis here is on providing you with the tools necessary for the detailed and comprehensive analysis and interpretation of film. This module will prepare you for the second semester, in which analysis will enter a creative dialogue with different aspects of film theory. Assessment: 1,000-word shot-by-shot analysis of a short sequence of selected film (40%) and Group presentation (60%).
  • The film auteur: vision and style
    In this module we'll examine the wide-ranging debates related to the film auteur through historical enquiry, theoretical investigation and comparative case studies. We'll explore the fraught relationship between film theory and the concept of the auteur, where the arguments against the film director-as-artist are set against the many instances of extraordinary ‘personal’ style and innovation in the cinematic medium. After exposure to the critical debates, you'll analyse a series of case-studies to better understand the auteur in the context of the ‘classical’,  the ‘postmodern’ and the ‘world cinema’ auteur. Finally, we'll also update the discussion by considering the impact of digital media on the idea of the film auteur. Assessment: 1,000-word extract analysis of a short film sequence (40%) and Essay (60%).
  • World cinema: origins and forms
    In this module we'll look at the historical and formal development of film and the cinema industry from the perspective of World Cinema. We'll consider the significance of film from around the globe (E.g. Eastern Europe, Japan, Latin America, Africa, India) and charts the development of a global film industry. We'll follow the historical methodology signalled in the preceding ‘Rise of Cinema: History and Diversity' module and widen the theoretical and analytical focus to instances of national cinemas that have provided a significant challenge and alternative to dominant ‘Western’ modes of narrative and representation. Assessment: 1,000-word extract analysis of a short film sequence (40%) and Essay (60%).
  • Film-making and innovation
    In this practical film-making module you'll apply the practical skills and processes involved in digital video-making to the conceptual practices of film theory and aesthetics. You'll learn the basics of digital video production and enter into a creative dialogue between film theory and practice. They will produce a short fiction film that is satisfying in its own right and to an audience. You'll gain an awareness of the ‘position’ of this type of practice within moving-image industries, and produce a short video to illuminate and test certain key concepts in the theoretical analysis of film form such as strategies towards framing, editing, length of take, and mise-en-scène. Through lectures and workshops we'll foster an awareness of film as art and consider what constitutes innovation in film-making. Diversity issues are addressed in this module through discussions of ethics in moving-image representation and production. Assessment: 2-6 minute group film (50%) and 1,500-word production log sheets and evidence of theoretical film analysis (50%).

Year 2

  • European realisms: Italy and France
    In this module we'll explore the cultural, historical and material factors that contributed to the importance of Neorealist films in post-war Italian cinema – one of the most influential film movements in cinema history. We'll go on to reveal the profound connections between this movement and the subsequent cine-revolution in France represented by the French New Wave. You'll analyse a range of Neorealist and New Wave films in relation to your cultural and historical context, and place them within critical debates on film form, national cinema and identities. You'll gain a thorough insight into the relation between theory and practice in these two innovative movements, and go on to discover the lasting legacy for contemporary cinema. Assessment: 1,500-word extract analysis of a short film sequence (40%) and 1,500-word essay (60%).
  • Projecting Britain: postwar to the 1980s
    In this module we'll examine films from the specified period of British cinema history, with a focus on the films’ representation of economic, political and cultural change in British society. The key question guiding this module is one of how change occurs, and film’s implicit and explicit role in reflecting and commenting on the changes which occurred, as well as those that were thwarted, in Britain during this period. We'll introduce you to the British New Wave of the early 1960s, and the radical cinema of the later 1960s and 70s. We'll investigate the ‘Thatcherite’ texts from the 1980s and moves on to the variegated forms of the 1990s. We'll also examine the role of realism as a predominant style in British cinema and critically analyses works by major, as well as critically overlooked, British directors through close attention to detail paired with wider contextual study. Assessment: Group presentation (40%) and 1,500-word essay (60%).
  • Documentary modes: practice and theory
    This course introduces you to the major documentary modes by offering a critical analysis of documentary's major systems of visual representation. You'll demonstrate your understanding by producing a short documentary film, which is satisfying in its own right and to an audience. You are expected to develop a critical agenda and to explore texts and films relevant to your project. The practical element of the module enables you to enter into a creative and critical dialogue with theories and debates surrounding traditional and alternative modes of documentary film-making. Assessment: 5-6 minute group documentary film (50%) and a 1,200-word critical reflection plus a 300-word production log (50%).

Plus one optional module from:

  • Screenwriting
    In this module we ask you to write an original 10-minute screenplay for a short narrative based drama. You'll explore the nature of narrative screen drama, the importance of research and development in generating new ideas, while considering the relationship between the script and the screen. You'll consider the importance of 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 narrative tools. Assessment: 100% coursework, 10-minute narrative screenplay (8-10 pages), one page treatment, and a 500-word reflection of the value of scholarly and trade literature (screenwriting books) for your scripts.
  • Visions of the city
    In this module we'll investigate the relationship between cinema and the city as a vital and dynamic association that stretches back from the earliest days of film to contemporary times. The first section will provide you with a detailed understanding of the main critical debates surrounding modernism in the representation of the modern metropolis, focusing on film-making in Germany and USSR between 1924-1933. We'll reveal cinema’s dual and contradictory role in offering ‘distraction’ to urban mass audiences as well as providing spectators with an aesthetic experience of modernity and the city. The second part takes up certain themes identified in modernism and maps them onto cinematic genres through the later 20th and 21st century cinema through a series of cine-urban case studies. Assessment: Group presentation (40%) and 1,500-word film review (60%).

Plus one further option from:

  • 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 you'll 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 the your chosen sector in terms of trends, issues and markets, and this will involve analysis of your role in your industry engagement. Assessment: 5-minute presentation (40%) and a 2,000-word report (60%).
  • American cinema: Hollywood and independents
    This module introduces you to the history and development of American cinema. You'll extend your knowledge and understanding of the growth of the film industry and your interpretation of image and meaning in film gained at Level 4. The module focuses on key aspects of Hollywood cinema including: production, distribution, exhibition and audiences. We'll go on to explore the relationship between Hollywood and Independent American cinema and explore the latter in terms of an alternative representational mode to Hollywood. You'll also be given the opportunity to view a wide range of Hollywood and Independent films and to critically evaluate such films in relation to the major themes of the module. Assessment: 3,000-word essay.
  • Critiquing gender and sexuality in the movies
    In this module we'll examine developments in the cinematic representation of gender and sexuality from classical Hollywood cinema to present day mainstream film. We'll begin our critical focus in the early 1970s feminist interventions that not only began a wholesale reappraisal of the cinematic canon but also developed a theoretical corpus that addressed fundamental issues of women’s identity in society, representation in the media, and spectatorship in cinema. You'll encounter a number of critical approaches – particularly psychoanalysis, semiotics, and queer theory – that were developed to explore the complex issues of gendered and sexual identity and the relationship between representation and politics. Assessment: 1,500-word extract analysis of a short film sequence (40%) and 1,500-word essay (60%).

Year 3

  • Contemporary cinema and digital futures
    This module will focus on contemporary cinema from across the globe to provide you with a flavour of current trends in terms of themes and aesthetics. We'll cover the development of CGI cinema as the most recognisable form of digital cinema in the popular imagination, but we'll expand the definition to encompass diverse genres, forms and national cinemas to afford an awareness of the richness and diversity of contemporary film output. We will frame cinema today in terms of digital production methods and seek to relate the particular forms of digital cinema to both a new kind of affect and a new kind of ‘control society’ characterised by flows of information. Assessment: 1,500-word film extract analysis (40%) and 2,000-word essay (60%).
  • Film and revolution in the developing world
    In this module we'll examine the complex nexus of cinema, politics and film-making practices that have defined the concept of ‘Third Cinema’ since the 1960s. The focus will be on African, Asian and Latin American models, and will go on to explore the links to contemporary filmic manifestations of political resistance in the West as well as in the developing world. Finally, the we'll consider the future of this type of cinema in the light of digital technologies and global competition from ‘Hollywood’. You'll explore the writings and manifestos of the Third Cinema filmmakers themselves and situate these in the light of contemporary critical and theoretical work. Assessment: 1,500-word film extract analysis (40%) and 2,000-word essay (60%).
  • Film reviewing and curating
    This module introduces you to concepts and practices of both film reviewing in a number of contexts, and film curation, including archiving. We'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, the module will 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:  film blog  production with two  film reviews  (1,500 words) (50%) and a 1,500-word film festival or curation event proposal (50%), which will include the rationale for the festival/event, market profiling and analysis and venue selection.
  • British film industry now!
    This module offers a detailed and practical survey of the contemporary British film industry, providing you with an understanding of its organisational and funding structure from the 1980s to contemporary times. We'll invite external speakers in various industry roles to provide insights into the professional capabilities required and a snapshot of the current state of the film industry and related sectors. In addition we'll summarise the main trends in British Cinema since 2000 in terms of thematics and aesthetics. You'll be required to develop a film idea into a budgeted production package and pitch the idea to a nominal UK funding panel. Consequently, the module provides a chance for you to combine practical and academic knowledge to gain skills and capabilities useable in real world film and media production. You'll develop a feature film idea in groups, produce a production dossier containing outline budget, casting and location details - and you'll pitch the idea to a funding panel. Assessment: 1,000-word critical review of one professional role in the film industry (30%) and  group pitch project (30%).

Plus one optional module from:

  • Critical film practice (practical module)
    This module focused on the major fiction and documentary modes of film-making and relevant theories and debates surrounding narrative and non-narrative film. You choose from set assessment themes to explore a specific area of film theory in ‘practice mode’. Understanding the relationship between theory and practice is demonstrated by producing a short film, which is satisfying in its own right and to an audience. You are expected to develop a critical agenda and to explore texts and films relevant to to your project. The practical element of this module enables you to enter into a creative and critical dialogue with theories and debates surrounding traditional and alternative modes of either narrative, or non-narrative film-making. Assessment: group, or individual, project narrative or non-narrative film (8-10 mins) (50%) and 3,000-word individual documentation (production log) and critical reflection of film (50%)
  • Film dissertation
    The final year Film Studies dissertation is an extended research project of 8,000 to 10,000 words. It is credited as a double module. The dissertation provides you with the opportunity to write a research based dissertation on any area covered in the course or relating to aspects of film studies. You are strongly encouraged to pursue an original line of enquiry, and are expected to manage your research and write independently with support and advice from their supervisor.

Employability

Studying film in London puts you at the centre of the filmmaking business. You’ll be prepared for work in the film, media and cultural industries in roles such as film curation, TV production, journalism, PR, publishing or marketing.

When you finish this course you’ll have a range of practical skills with which to shape your future, including screenwriting, pitching ideas and building a creative video portfolio.

Although the course does not provide you with professional film or media production training, it will give you the intellectual and practical skills and abilities that are premium requisites in the media and creative industries – and our graduates have gone on to work for the BBC, ITV and Universal (Europe).

Recent graduates from this course have gone onto roles such as: TV Production Trainee at the BBC, Independent Music Video Director, Film Education Assistant at BFI Southbank, Production Runner, Client Service Runner and Theatre Production Assistant.

Take a look at some potential careers, including TV production, in our Prospects section.

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

Dr Caitriona Beaumont

School/Division: Law and Social Sciences / Social Sciences
Job title: Associate Professor in Social History; Director of Research, School of Law and Social Sciences

Dr Caitríona Beaumont is Associate Professor in Social History specialising in the history of female activism, women’s movements and feminism in twentieth century Britain and Ireland.


Dr Leon Betsworth

School/Division: Arts and Creative Industries / Arts and Performance
Job title: Lecturer in English Literature

Dr Leon Betsworth is a Lecturer in English Literature in the Division of Arts and Performance within the School of Arts and Creative Industries.


Ricardo Domizio

School/Division: Arts and Creative Industries / Film and Media
Job title: Course Director - Film Studies

Research interests include Digital Cinema theory and practice, and Italian Cinema of the Post Second World War period.


Dr Iris Luppa

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

Iris' research interests include Weimar cinema and theatre, writing on film in Germany in the 1920s and Weimar exile directors in Hollywood.


Dr Donatella Maraschin

School/Division: Arts and Creative Industries / Creative Technologies
Job title: Senior Lecturer, BA Journalism

Dr Donatella Maraschin's current research addresses the latest developments in digital storytelling, with a particular interest in the immersive narrative strategies found in long-form digital journalistic formats and their influence on the formation and understanding of networked subjectivity.


Facilities

  • 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.

  • 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.

Teaching and learning

Your Lecturers are leading practitioners in their fields, so everything we do is industry relevant. Inspiring guest speakers from the media, broadcasting and production houses will give you further industry insight and build your professional connections.

Percentage of time spent in different learning activities
Lectures and seminars Self-directed learning
Year 1 30% 70%
Year 2 25% 75%
Year 3 20% 80%

Year 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 support you to get the most 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 year tutor at least once a semester for 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

Apply now for a full-time course starting this September through Clearing.

Call 0800 923 8888 to speak to one of our dedicated Clearing advisors who’ll take you through your application.

You can also speak to us in person at one of our clearing application sessions.

If you’re applying for a health and social care course use our online application service.

For more information visit our Clearing page.

Part-time course

Please follow the instructions on the table below to apply for a part-time course.

International students

International (non Home/EU) applicants should follow our international how to apply guide.

2019 entry

International students

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
W600
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.

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: 3311Session code: 1FS00
Total course fee:
UK/EU £27750
International £39375

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.

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

The rise of cinema:

  • Bordwell,D & Thompson,K (2009) Film History: An Introduction. Winconsin: McGraw-Hill

Reading the screen:

  • Film Analysis: o Bordwell,D & Thompson,K (2010) Film Art: An Introduction. Winconsin: McGraw-Hill.

Authorship in cinema:

  • Wood, Robin (1989) Hitchcock's films revisited New York: Columbia University Press

Please read the introductory chapter of each book.

 
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Contact information

Course Enquiries - UK

Tel: 0800 923 8888

Get in touch

Course Enquiries - EU/International

Tel: +44 (0) 20 7815 6189

Get in touch
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