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Fourth in the UK
The University of Lincoln’s Media programmes are ranked fourth in the UK for graduate prospects, according to The Times and Sunday Times Good University Guide 2014.
98% of Film and Television students agreed that staff are good at explaining things in the latest NSS survey.
Film and television are cultural phenomena. As forms of art, education and entertainment, this multi-billion pound industry can shape national identities, break down taboos and pose important questions on an international platform.
The BA (Hons) Film and Television degree comprises academic study in both film and television, which is complemented by practical and creative projects in television production, film and scriptwriting.
The course aims to help you understand the uses of technology and to appreciate the significance of media in culture and society. Alongside practical work, you carry out critical studies in film and television, examining the subjects from the view of both practitioner and audience.
How You Study
Students will learn and develop through lectures, workshops, seminars, group projects, screenings, research and an independent study.
How You Are Assessed
The course uses continuous assessment as the basis for determining the level of student performance, as well as class-based tests.
What We Look For In Your Application
We do not specify A level subjects but seek evidence of media-related creativity and/or critical awareness such as qualifications in English, Art, Design, Media, Theatre, Sociology or Film Studies.
We particularly value personal statements that demonstrate relevant experience, a broad range of interests and a real passion for learning about film and television.
Applicants should have a minimum of 300 UCAS tariff points from a minimum of two A Levels (or equivalent). In addition to the two A Levels, other qualifications such as AS Levels, the Extended Project and the ASDAN CoPE will be counted towards the 300 point requirement.
Applicants will also be required to have at least three GCSEs at grade C or above (or the equivalent), including English Language.
We also accept a wide range of other qualifications including the BTEC Extended Diploma, Diploma and Subsidiary Diploma, the European and International Baccalaureate Diplomas, and Advanced Diplomas. You can find tariff values on the UCAS website http://lncn.eu/cdez
Mature students with extensive relevant work experience and a portfolio of work, will be selected on individual merit. All relevant work experience should be noted on the application form.
Degree preparation courses for international students:
The University of Lincoln offers international students (non EU/UK) who do not meet the direct entry requirements for an undergraduate degree course the option of completing a degree preparation programme at the university’s International Study Centre. To find out more please visit www.lincoln.ac.uk/isc
If you would like further information about entry requirements, or would like to discuss whether the qualifications you are currently studying are acceptable, please contact the Admissions team on 01522 886097, or email email@example.com.
Audiovisual Principles and Practices
This module complements, reinforces, extends, underpins, and unifies knowledge and skills from across Level One to ensure a foundation for advanced study, offering greater specialisation for Single Honours students.
Landmarks in Film and Television 1: Hollywood in Context
This module chronologically and critically surveys the rise and continuing influence of Hollywood within the history of the USA and the rest of the World, using a variety of theoretical approaches to film, TV and popular entertainment.
Landmarks in Film and Television 2: Beyond Hollywood
This module examines significant developments for film and TV outside the USA, recognising separate and parallel practices in other places and cultures.
Mediation and Representation
This module aims to promote critical engagement with key cultural studies concepts and methods. It is organised around an examination of critical studies, media and cultural contexts, enabling students to develop a critical understanding of key theoretical concepts and critical approaches that have informed studies of cultural production and consumption, particularly during the latter half of the 20th Century. Consideration will also be given to significant technological changes, emerging during the closing decades of the 20th Century that have radically impacted on methods of production and distribution in the global market. Attention will also be given to how these are being accommodated, or not, through new paradigms in media and cultural studies as well as economic, regulatory and legal frameworks.
This module introduces practical techniques, using multi-camera studio methods. Basic production organisation, script and planning methods are developed alongside critical and analytical understanding of television as a medium.
Script, Screenwriting and Realisation
This module gives an introduction to writing and storytelling for screen based media production. Students will develop their own creative writing techniques informed by critical concepts. Creative exercises and independent application culminate in the production of a short film script followed through to its realisation.
Analysing Film and Television as Industries 1
Students will examine the political, commercial and cultural determinants behind the history, current organisation, and potential futures of the UK audiovisual production environment, including how it relates to the US and Europe.
Analysing Film and Television as Industries 2
This module extends and deepens the analysis of production environments begun in Part 1. It relates specifically to students' potential futures as practitioners in these sectors but also considers how development and transformation affect their identities, and those of their peers, as informed and engaged consumers and citizens.
Authorship and Agency (Option)
Three different determinants for a film or broadcast text will be considered - the author, the genre and the production/distribution institution. Students will debate the relative importance of these three determinants to a number of case studies. This analysis will be underpinned through a consideration of the development and utility of each of the approaches.
British Experimental Film and Television (Option)
Students will focus on how the emergence of film and video technologies has given rise to more marginalised voices being heard. 'Experimental film', 'artists’ moving image', 'video art' etc, are often overlooked by both histories of art and the media, yet are some of the most pioneering and unusual work. The motivation behind this practice is studied, alongside the (non-) institutional structures that allow it to be made, and methodologies of studying the texts themselves.
British Television Drama (Option)
Drama is a key component of TV in the UK, carrying out a Public Service function and creating a sense of National Identity. The module considers continuing series (soap operas), drama serials, single plays and television films, situation comedy and comedy drama, underpinned by a survey of critical approaches.
Children’s Film and Television (Option)
This module investigates and analyses the debates about and developments in children’s film and television, largely in the UK but drawing on the USA, for elements of comparison informed by politics, ideology and economics.
East Asian Cinemas (Option)
A guide to specific films and accompanying theoretical concepts. Key films provide a platform for debating the political, institutional and cultural context of individual cinemas and regions in an increasingly globalised industry where audiences and producers are exposed to a variety of film styles. Critical engagement and debate are encouraged within the broader structure of World Cinema, alongside cultural and globalisation studies.
Film Production Projects (Option)
This module will enable students to further develop skills in single camera production and apply them to a range of genre projects. Lectures will present best practice in production techniques and offer stimulus for idea development in production projects. Workshops will target the development of technical skills in camera operation, lighting, sound recording, post production, non-linear editing and multi track facilities as well as creative approaches to production and directing. Seminars will provide a programme of student support for production teams conducting a range of creative projects.
Genre and Film (Option)
This module will explore how genres affect appreciation of films and their various international contexts, enhancing understanding of the ways in which films function as socio-cultural products as well as a commercial entertainment medium. Emphasis is on a particular genre: e.g. the crime/gangster film may be traced from Hollywood in the 1930s to its contemporary, multi-faceted, multi-cultural form with its ongoing concern with issues of criminality and its relationship to masculinity, ethnicity and power. The module deals with developments in order to stress both the universality and specificity of film genres.
Globalisation and Contemporary Culture (Option)
This module will provide an overview of conceptual themes and issues within the culture industry and the arts in relation to globalisation. Debates brought forward include: national and cultural identity, global representation, global technologies, multiculturalism, transnationalism, cosmopolitanism and global activism channels.
Horror and Fantasy (Option)
In this module students will be introduced to a range of theoretical and contextual approaches to fantastic fictional forms with the emphasis on horror texts and ‘dark’ fantasy. Students will be encouraged to apply the approaches we will cover though the analysis and discussion of a range of relevant media output.
Media and War (Option)
Core to this module is an exploration of the vital relationship between the development of European and American media, social power and social conflicts. We will critically examine how the 'happy marriage' between wars and media was instituted in the course of the leading conflicts of the 20th Century, such as the major world wars and those since. Topics will include war photography, radio propaganda, war films and online peace activism.
Media Research: Methods and Proposal Design
This module focuses on the research methods used when analysing media products, institutions and audiences and on how to design and outline coherent and detailed research proposals with respect to these subject areas.
Modernism and Experimental Forms (Option)
Experimental approaches will be placed in the context of a number of key historical moments in the evolution of a broad range of media practices since the emergence of Modernism in the late 19th and its rise in the early 20th century. More recent periods that can be considered crucial to an understanding of the principles underpinning experimental work will also be examined.
Movies never die: understanding the archives (Option)
Rooted in the presence of MACE within the school, an introduction to the concept of the moving image archive and the history of the sector in the UK, the course will deliver a critical consideration of the practical and ethical issues associated with film archiving using the framework of the principal activities of the archives: selection and acquisition; research and documentation; conservation and preservation and access to the resources. At each stage we will discuss how the techniques developed impact the researcher or film maker. In the course of the module we will view and discuss a wide range of films from the archives and will look at the developing technical history of the medium.
Multi Camera (Option)
Students work creatively within genres with the opportunity to expand and develop these, using advanced studio production techniques involving programme development, planning, script development, role practice, set design and graphics/overlays, lighting and programme running paperwork. Projects culminate in live assessments.
Multi Camera Projects (Option)
This module will include advanced studio production techniques, programme development, planning, script development, role practice, set design, graphics/overlays, lighting and programme running paperwork. Exercises will help students to develop advanced studio practices, facilitating the production of work to an industry standard.
Practices of Listening (Option)
A broad look at audio-culture from the twentieth century to the present, offering challenge and insight to Film & TV specialists. Vision is often privileged, resulting in a relative paucity of language for discussing sound. This problem is addressed, looking at texts from key theorists and practitioners, considering sound not in addition to vision, but independently, in music, radio, art and daily life.
Public Service Broadcasting
Students study the concept, history and possible future of Public Service Broadcasting in the UK. The implications of broadcasting policy and reports from government committees on broadcasting will be considered in relation to the formation of the concept of Public Service Broadcasting.
Realism in Narrative Fiction (Option)
This module develops an understanding of the complex problem of realism in film and media studies as it relates to fictional narrative forms. Students engage with academic debates around realist texts and examine these in relation to historical, contemporary and potential examples.
Representing Difference (Option)
Methods of analysis of media representations and approaches to representing difference will be considered in this module as well as issues such as gender, nationality and ethnicity apparent in film & broadcast media. A range of critical approaches will be considered and contrasted and Post-colonial theory and Third Cinema will be utilised in relation to these.
Representing Reality (Option)
Representations of real people’s lives and experiences have become a potent area of debate in the contemporary public arena. This module considers how today’s documentaries have been shaped by key practitioners over more than half a century, culminating in the thirst for 'reality' that characterises present schedules and news-stands.
Script and Screenwriting (Option)
This module explores and develops the craft of scriptwriting for radio and screen and provides a basis for students to create and develop their own ideas.
Script and Screenwriting Projects (Option)
Initially elements of craft will be presented in lectures and practised during workshops as students create their own short scripts. Scripts will be developed from initial idea through to final draft. Students will also study the craft of writing longer scripts for radio, film and TV, supported by an analysis of the craft of writing for these media.
Society, Aesthetics and Digital Media (Option)
The technical rationality and control associated with digital media and culture are constantly plagued and undermined by forms of irrationality and otherness. Philosophical, psychoanalytical and aesthetic theory on issues of time, memory, the uncanny, alterity and the virtual in digital media provides ways of thinking around this theme and questioning its ethical and political significance. Includes discussion of how digital media artists, producers and practitioners explore these issues in productions, installations, artworks and other areas.
Television and New Media Entertainment (Option)
Through a critical examination of contemporary factual television and online culture, this module will show that this can be understood as having been dramatically reconfigured in recent years by socio-political and commercial pressures and their associated entertainment values and changing discourses of selfhood.
The Art (and Craft) of the Cinematographer (Option)
This module explores and contextualises the work of the cinematographer in both fictional and documentary production, from pioneers in the early 1900s, whose skill was considered a craft, to cinematographers today, when technological advances and development of techniques and lighting might suggest that their work is more an art. Practical sessions reproduce technical and artistic advances, using today’s technology, influential cinematographers’ work is viewed and discussed, and personal engagement with some of these is facilitated through master classes.
Women in and at the Movies: Stars, Icons and Audiences (Option)
This module is concerned with the cultural construction of womanhood, the 'female' and notions of femininity: the economic and cultural value of the female film star to Hollywood, the development of female film genres or the feminization of certain genres, how debates about female identity inform models of spectatorship, with respect to both psychoanalysis and ethnography.
Ecological film and media study is new, full of contradictions and uncertainties. Debates around eco-crisis make it rich and pertinent. Examines feature films with environmental themes, blockbusters that spectacularly exploit ecological fears, ‘green’ experimental cinema, representations of nature in wildlife documentaries, propagandist documentaries, and film-making as a wasteful and destructive industry.
Exploitation Cinema (Option)
Examines the cultural significance of so-called exploitation films, which can reveal (and revel in) themes, images and narratives suppressed from the mainstream, dealing with lurid, scandalous subjects in a seemingly excessive, gratuitous manner. Some theorists argue that perceived ‘excess’ is a foundation for developing new critical methods, providing a fascinating alternative to approaches more comfortably contained within ‘classical’ systems.
Film and Society (Option)
Film as a medium, art, social communication, and complex technology dramatically re-shapes how we see the world. Studies interaction between genres (westerns, blockbusters and their alternatives, musicals, horror, ‘art-movies’) and schools/movements (realism vs. expressionism, Hollywood, neo-realism, Avant Garde, The New Wave, Das Neue Kino, social and socialist realism, etc.), linking to cultural and social changes in Euro-American modern history.
Film and Television Under Pressure
Investigates current challenges and difficulties facing film and TV and resultant complications in studying them. One-way production and consumption processes compete with non-linear, responsive or interactive “media“ such as the internet, social networking and computer games. Film and TV are stretching to fit these developments, with fascinating, often unpredicable, consequences.
Film/TV Production Project
One advanced concept-led project or project portfolio using technologies centred upon Single Camera, Multi Camera or Scriptwriting; an opportunity to produce practical work to an advanced level of creativity and to undertake interdisciplinary production with students on other School courses as appropriate.
Heroes and Villains in Film (Option)
This module will examine a range of heroes produced by the twentieth and twenty-first century, and analyse their cultural context, their relationship to genre and provide a means by which we can understand the changing mores of audiences. Taking a range of heroes, antiheroes and villains from the western, science fiction, comic book superheroes and literary adaptations, we will examine heroic virtues, the sins of the villain, and the often confused interplay between the two, in order to arrive at a greater understanding of what makes a hero, why we need them, and how film has negotiated the need for men and women who somehow answer our unspoken prayers and desires.
Hollywood Cinema in the 70s (Option)
Surveys and assesses a period that represents a break with a range of ideological, aesthetic and commercial traditions together with a process of retrenchment and recuperation. Post-classical Hollywood saw both films and the industry experience ideological and socio-cultural upheaval, demonstrated through cinematic modes of representation, industrial re-structuring and artistic transformations.
Journalists on the Screen (Option)
The purpose of this module is to examine and compare critically the different representations of journalists to be found in film and assess the relation between these portrayals and continuing moral and political issues faced by the profession. The module requires students to study movies in which journalists are portrayed as leading characters.
Latin American Cinemas (Option)
Latin American Cinemas examines the development of cinema production in this region and explores the diversity of approaches to style, theme and business models, taking the work of key film-makers as case studies. The relationship between politics and film is reviewed, as are the connections and interdependences between Latin American film culture and other parts of the world, including Hollywood
Literature, Film and Gender (Option)
This module explores a wide range of gender topics (masculinities, the backlash against feminism, crossdressing, queer theory, and transgendering) through a variety of literary texts and films. Shakespeare, Ibsen, Hardy, and Woolf, are considered alongside more popular fiction by writers, such as Susanna Moore, and films, including Priscilla Queen of the Desert, Mrs Doubtfire, Boys Don’t Cry, and Peeping Tom.
Media Independent Study
A 10,000-word dissertation is the culmination of the student's undergraduate investigation into the structures and debates surrounding cultural production and takes the form of an extended essay. Regular support and supervision ensures that the chosen subject facilitates involvement with issues relevant to contemporary media practice.
Popular Fiction Across Media (Option)
Current debates and contemporary phenomena addressed across a range of texts. Science fiction and horror are employed to examine issues such as censorship, ideological representations and underlying trends of technology related to communication.
Representing the Unrepresentable (Option)
Schindler’s List (1993) met critical acclaim and commercial success – but furore in some quarters, not only for how it represented the Holocaust but for daring to represent it at all. Using this example as a reference point, the module critically examines several moving picture accounts of the Holocaust in the context of long-standing debates around the nature, ethics, and function of documentary, drama-documentary, and fictionalisation.
Science Fiction in Film and Television (Option)
Analyses the range and diversity of a genre encompassing many highly popular texts. Metaphor and allegory are explored to understand how science fiction has been appreciated and has developed from cult to mainstream acceptance and popularity. Innovation and cross-fertilisation of generic forms are also be considered.
Televising History: from the 1950s to the 21st century (Option)
Examines the increase, since the 1990s, in history programmes in Britain, Europe and North America, many of which contribute to viewers’ sense of national, regional and personal identity. Considers the accompanying proliferation of platforms – digital, satellite, Internet – and genres, alongside the range of scholarly responses which have similarly expanded in terms of approach and discipline.
Television Crime Drama (Option)
Tracing the origins of the modern Television Crime Drama from its literary origins through crime film, this module considers various critical approaches to the genre. Through a mixture of textual and contextual analysis students consider crime drama as both a measure of the zeitgeist and a monitor of the relationship between the citizen and the state.
Weimar Cinema: Silent and Early Sound film (1918-1933) (Option)
The film industry and culture in Weimar Germany (1918-1933) is influential, contradictory and ambivalent. The module investigates the aesthetics of Expressionism and New Objectivity, constructed in competition and co-operation with Hollywood and other European states, and how these relate to the political spectrum.
Special Features & Research Highlights
Media academics conduct internationally recognised research in a variety of topics, including Latin American cinemas and developments in children’s film and television. The School hosts the pioneering Televising History project, an extensive study that examines how history is depicted on television.
We have an in-house production arm augmenting a graduate start-up centre to encourage graduates to stay within the region to locate their creative industry businesses. Connections with both corporate and community bodies in the region resulted in a successful bid to OFCOM in 2007 for a five-year Community Radio licence for Siren FM, which broadcasts from the building.
BBC Partnership Status
The School has gained recognition as an Approved Partner in the BBC North initiative and with Avid, the editing software manufacturer. We are also a licensed deliverer of the BBC Health and Safety awareness course, which is available to all students and staff. A major Knowledge Transfer Partnership involves production for Interflora.
Many academic staff are current media practitioners who are engaged with professional bodies, such as the Royal Television Society, the British Society of Cinematographers and the British Association of Film, Television and Screen Studies, ensuring that course content is informed by the latest industry developments. BAFTA-winning television dramatist Neil McKay and documentary-maker Nick Gray are visiting professors in the School.
We have an outstanding tradition of success at the Royal Television Society Midlands Awards, where in October 2009 projects by our students took First Prizes in the Animation, Entertainment and Factual categories as well as for Best Overall Student Production. This achievement is unprecedented by any university.
Student as Producer
Student as Producer is a development of the University of Lincoln's policy of research-informed teaching to research-engaged teaching. Research-engaged teaching involves more research and research-like activities at the core of the undergraduate curriculum. A significant amount of teaching at the University of Lincoln is already research-engaged.
Student as Producer will make research-engaged teaching an institutional priority, across all colleges and subject areas. In this way students become part of the academic project of the University and collaborators with academics in the production of knowledge and meaning. Research-engaged teaching is grounded in the intellectual history and tradition of the modern university.
Please visit the Student as Producer website for further information. [http://studentasproducer.lincoln.ac.uk/]
A wealth of printed and online resources is available in the Great Central Warehouse Library. For practical work you have access to the Media and Broadcast Production Centre, an industry-standard production environment with television and radio studios, video editing suites, audio editing suites, a sound dubbing theatre, green screen room, colour finishing facility and a photography studio. The Media Archive for Central England is based on campus and contains film, tape and digital media resources for students.
Graduates have secured employment as broadcast researchers, production assistants, programme producers, production managers, audio or video editors and journalists. Media skills and expertise are in demand in many related sectors, with opportunities in advertising, public relations, marketing, education and publishing.
While you are at the University of Lincoln, you will have different services at your disposal that will help you best prepare for your future career.
The University's Careers & Employability Team offers qualified advisors who can work with you to provide tailored, individual support and careers advice during your time at the University and once you graduate.
This service includes one-to-one coaching, CV advice and interview preparation to help you maximise your future opportunities. Having achieved new knowledge and skills, you will be fully supported to fulfil your career ambitions.
The service works closely with local, national and international employers, acting as a gateway to the business world. It advertises a range of graduate positions around the country.
Visit our Careers Service pages for further information. [http://www.lincoln.ac.uk/home/campuslife/studentsupport/careersservice/]
At the University of Lincoln we want to offer you the very best facilities and resources we can. These include a well-stocked library; well-equipped classrooms and laboratories; great IT provision and a variety of social learning spaces spread across the entire campus. In some programmes students will need additional, specialised personal resources or equipment to enable them to pursue their courses. Where appropriate these will be provided by the relevant School.
|Full-time||£9,000 per level||£14,522 per level|
|Part-time||£75 per credit point|
Please note that not all courses are available as a part-time option.
For further information and for details about funding your study, please see our UK/EU Fees & Funding pages or our International funding and scholarship pages. [www.lincoln.ac.uk/home/studyatlincoln/undergraduatecourses/feesandfunding/] [www.lincoln.ac.uk/home/international/feesandfunding/internationalscholarships/]