98% of Film and Television students agree that this course is well organised and runs smoothly, according to the national Student Survey 2016.
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 studio production, film and scriptwriting. This programme is 75% theory and 25% practice based.
This course is taught by academics and researchers in film and television, and with access to some of the best film and television resources in the UK. The course offers a research-informed introduction to the theory, practice and social significance of film and television.
How You Study
Students will have the opportunity to learn and develop through lectures, workshops, seminars, group projects, screenings, research and an independent study.
In the first year of the degree, theoretical aspects of film and television studies are introduced, as well as textual analysis of Film & TV products, film production and scriptwriting and TV studio production. The range of optional modules on this course aims to develop students own specialisms and pursue areas of particular interest. Topics include horror and fantasy, British television drama, Hollywood in the 1970s, science fiction and television crime drama.
During the second year, there are opportunities to take part in exchange programmes with one of our partner universities in Europe or the USA. Further information relating to exchanges within Europe can be found here:
Costs relating to the USA exchange programme can be found in the fees tab.
In the final year, students are asked to complete an independent research study on a topic of their choice, as well as a creative production project in film, television or script.
Contact Hours and Independent Study
Contact hours may vary for each year of a degree. When engaging in a full-time degree students should, at the very least, expect to undertake a minimum of 37 hours of study each week during term time (including independent study) in addition to potentially undertaking assignments outside of term time. The composition and delivery for the course breaks down differently for each module and may include lectures, seminars, workshops, independent study, practicals, work placements, research and one-to-one learning.
University-level study involves a significant proportion of independent study, exploring the material covered in lectures and seminars. As a general guide, for every hour in class students are expected to spend two - three hours in independent study.
Please see the Unistats data, using the link at the bottom of this page, for specific information relating to this course in terms of course composition and delivery, contact hours and student satisfaction.
How You Are Assessed
The principle mode of assessment is the written essay on this programme. Practice work is assessed through practical projects and written evaluations of these. Students will also be assessed by group presentation in some modules. There are no formal examinations.
The University of Lincoln's policy on assessment feedback aims to ensure that academics will return in-course assessments to students promptly – usually within 15 working days after the submission date (unless stated differently above)..
Methods of Assessment
The way students will be assessed on this course will vary for each module. It could include coursework, such as a dissertation or essay, written and practical exams, portfolio development, group work or presentations to name some examples.
For a breakdown of assessment methods used on this course and student satisfaction, please visit the Unistats website, using the link at the bottom of this page.
Throughout this degree, students may receive tuition from professors, senior lecturers, lecturers, researchers, practitioners, visiting experts or technicians, and they may be supported in their learning by other students.
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.
Throughout this degree, students may receive tuition from professors, senior lecturers, lecturers, researchers, practitioners, visiting experts or technicians, and they may be supported in their learning by other students.
For a comprehensive list of teaching staff, please see our Lincoln School of Film & Media Staff Pages.
Entry Requirements 2017-18
GCE Advanced Levels: BBB
International Baccalaureate: 30 points overall
BTEC Extended Diploma: Distinction, Distinction, Merit
Access to Higher Education Diploma: A minimum of 45 level 3 credits at merit or above will be required.
Applicants will also be required to have at least three GCSEs at grade C or above (or the equivalent), including English.
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 firstname.lastname@example.org.
Analysing Moving Image Texts
This module offers an opportunity to study and apply a wide range of methods of textual analysis to film and television texts. Through group discussion and seminar exercises students can develop a fluency in these analytical methods. This is underpinned by a range of complementary subjects which act as an introduction to the critical approaches taken in year two of the programme.
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 & Representation 1
This module aims to promote critical engagement with key Media Studies concepts and methods. It is organised around an examination of critical studies, media contexts and media forms and aims to enable students to develop a critical understanding of key theoretical concepts and critical approaches that have informed studies of media 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 millennium, that have radically impacted on methods of production and distribution in the global mass-media market and how these are being accommodated, or not, through new paradigms in Media Studies (as an Academic subject area) as well as economic, regulatory and legal frameworks.
Mediation & Representation 2
This module aims to promote critical engagement with key Media Studies concepts and methods. It is organised around an examination of critical studies, media contexts and media forms to enable students to develop a critical understanding of key theoretical concepts and critical approaches that have informed studies of media 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 millennium, that have radically impacted on methods of production and distribution in the global mass-media market and how these are being accommodated, or not, through new paradigms in Media Studies (as an Academic subject area) as well as economic, regulatory and legal frameworks.
This module aims to introduce 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 have the opportunity to 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 have the opportunity to 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.
British Experimental Film and Television (Option)
Students will be given the opportunity to 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.
Class, Power and Performance on Stage and Screen (Option)
This module draws on the renewed interest in the 21st century in social class by analysing classed identities on stage, TV and in film in a variety of largely iconic texts of the 20th and 21st-centuries. The module begins in the mid-20th century, focusing particularly on the implications of aesthetic form and genre for class construction and performance. Examples of forms, genres and styles include social realism, kitchen-sink drama, the TV sitcom, post-Brechtian, experimental and post-dramatic texts as well as genres such as crime and horror. Key figurations of classed identity include: ‘angry young (wo)men’; the ‘working class Tory’; screen mediations of ‘we’re all middle class now’; ‘upper-class decadence’; the figure of the ‘chav’; ‘prole’ or ‘poverty porn’ and social abjection.
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.
English for Academic Purposes (media) (Option)
This module aims to support students’ understanding and use of English language in the context of the media, and thereby enhance their ability to meet the demands of academic study at the University of Lincoln.
Film and Television Study Period Abroad (Klagenfurt) (Option)
The Klagenfurt Erasmus Exchange Programme is an optional module of study for the award of the BA Film & Television degree. As part of the three-year course, some students may study for the duration of Term 1 of Level 2 at the University of Klagenfurt, Austria. The target modules of study include areas of practical and theoretical studies comparable with those of Level 2 study for the Film & Television award at Lincoln.
During the term abroad, Lincoln students will be based in the Institute of Media and Communication Studies and will share classes and modules of study with peers from Austria and other European countries. Not only will students be living and socialising in another culture, providing opportunities to study their respective countries, they will also have an opportunity to engage, free-of-charge, in an intensive German-language module for three weeks before term begins (although academic and practice teaching and learning will be in the medium of English for Lincoln exchange students, except in rare instances when a student may be fluent in German).
Film and Television Study Period Abroad (USA) (Option)
The Minnesota State University Moorhead USA Exchange Programme is an optional module for the award of the BA Film and Television Degree. As part of the three-year course, some students may study for the duration of Term 1 of level 2 at Minnesota State University Moorhead USA. The target units of study include areas of practical and theoretical studies comparable with those of Level 2 study for the Film and Television Award at Lincoln.
During the semester abroad, students will share classes and units of study with local students. Not only will students be living and socialising in another 'culture' providing opportunities to study their respective countries, they may also have an opportunity to examine USA media industry practice through optional Internships for exchange students. The Moorhead-Fargo twin cities also offer practical opportunities for students to engage with USA production companies including, Fox, ABC and Prairie Public TV (PBS), all of whom have local bases.
Film Production Projects (Option)
This module aims to enable students to further develop skills in single camera production and apply them to a range of genre projects. Lectures look to 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 aim to provide a programme of student support for production teams conducting a range of creative projects.
Film, Television and Creative Vision (Option)
Three different determinants for a film or broadcast text will be considered - the author, the genre and the production/distribution institution. Students will be given the opportunity to 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.
Games Cultures (Option)
Play is a ubiquitous activity, and games (in all their forms) have a long history and an influence that stretches beyond the game-space itself. In recent times, computers (and other trends within media and society) have lead to an exponential growth in the cultural, social and commercial importance of games, which have likewise become more sophisticated, becoming an important media form which has affected other media and culture generally. This critical studies theory module will aim to consider, evaluate and analyse the phenomena of games and game cultures in the 21st century.
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 aims to 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 in Popular Culture (Option)
‘Horror’, John Clute says, ‘conveys a constant message that the concept of the orderly self is a farce, and that any art based on orderliness is a lie’. It delves beneath the sense and the surface of what we ordinarily take to be our rational world, compelling us to acknowledge, address and feel our unmapping and disorientation. Horror probes the limits of what we take to be human and posits a world out of control with seemingly no possibility of escape. This module is intended to introduce students to a range of conceptual and theoretical approaches to horror in popular culture. We will explore the gothic and the supernatural as well as realist horror and exploitation cinema. We will think about horror in terms of social, cultural and national contexts. We will study psychoanalytical approaches to these fictions as well as the ideas of the affect theorists and phenomenological perspectives which have challenged psychoanalysis. Through lectures, screenings and discussions, students will be encouraged to apply the approaches we will cover in the analysis of selected media texts and approaches.
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. The module aims to 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 aims to focus 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 students will be encouraged to discuss how the techniques developed impact the researcher or film maker. The module will also view and discuss a wide range of films from the archives and will look at the developing technical history of the medium.
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 are designed to 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 are given the opportunity to 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 aims to develop an understanding of the complex problem of realism in film and media studies as it relates to fictional narrative forms. Students will have the opportunity to 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.
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. Students can develop scripts from an initial idea through to final draft. Students will also have the opportunity to 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)
Media are inseparable from the processes by which societies change themselves. However, they can also be conceived as having their own vitality. In other words, media are sites of complex agency. Developments in media technology express and embody mutations of society, power and the human. In relation to a range of social, cultural and political concerns, we will explore how digital media technologies organize our existence, our perception of reality and our capacity to imagine alternative ways of living. Today, as digital media become increasingly interrelated, networked and convergent, we are moving across the ‘form-barrier’ and entering a new, fluid and hybrid post-broadcast media ecology. This module interrogates the transformation and reconfiguration of our everyday lives and experiences in the new media ecology.
Television and New Media Entertainment (Option)
Through a critical examination of contemporary factual television and online culture, this module aims to 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.
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 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 (Option)
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 aims to 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 1980s (Option)
Cinema is an integral part of our culture and tells us about society; like any cultural product, cinema does not exist in a vacuum. It communicates ideas, value systems and cultural beliefs, desires, dreams, anxieties, fears and needs of a given society at a given time, and it does so through different constructions of gender, sexualities, whiteness, ethnicity, race, age, social class and cultures. Taking into account a broad range of films and genres (from rom-com, drama and erotic thriller, to animation, musical, neo-noir, action and sci-fi), as well as a variety of theoretical approaches from (but not limited to) feminist film theory, philosophy, post-feminism, psychoanalysis, stardom and cultural studies; and combining textual analysis with background reading, this module will examine and critically evaluate a range of Hollywood films produced and released in the 1980s addressing the relations between their textual form and their cultural context.
Hollywood Cinema in the 70s (Option)
This module 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 critically compare 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 expects 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 and The Crying Game.
MACE Internship (Option)
The course provides an opportunity for up to two students who have taken and completed successfully the level 2 module Movies Never Die to undertake a work placement in MACE.
The placement not only provides students with the opportunity of an invaluable working experience but will concentrate on an agreed piece of practical archive work through which to develop a deeper critical awareness of the role and impact of a moving image archive. The culmination of the placement will be a written critical assessment of the placement and of the specific project undertaken.
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.
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 are asked to 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.
The availability of optional modules may vary from year to year and will be subject to minimum student numbers being achieved. This means that the availability of specific optional modules cannot be guaranteed. Optional module selection may also be affected by staff availability.
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, as well as leading researchers in Speilberg studies and media technologies, histories and cultures.
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.
Students on this course have the opportunity to hear from visiting guest speakers from many parts of the Film and TV industries. See here for details:
ADOBE CREATIVE CLOUD
Students on this course will receive a licence for Adobe Creative Cloud free of charge
When students are on an optional placement in the UK or overseas or studying abroad, they will be required to cover their own transport and accommodation and meals costs. Placements can range from a few weeks to a full year if students choose to undertake an optional sandwich year in industry.
Students are encouraged to obtain placements in industry independently. Tutors may provide support and advice to students who require it during this process.
Student as Producer
Student as Producer is a model of teaching and learning that encourages academics and undergraduate students to collaborate on research activities. It is a programme committed to learning through doing.
The Student as Producer initiative was commended by the QAA in our 2012 review and is one of the teaching and learning features that makes the Lincoln experience unique.
Students are based in our award-winning Media and Broadcast Production Centre, a specialist production environment with television and radio studios, video and audio editing suites, digital imaging, design and multimedia suites, a sound dubbing theatre, writers’ room, green screen room, colour finishing facility and photography studio. There is a full range of portable equipment, as well as free access to the latest media software for home use as all Media Production students receive a free licence for Adobe Creative Cloud software suite.
At Lincoln, we constantly invest in our campus as we aim to provide the best learning environment for our undergraduates. Whatever the area of study, the University strives to ensure students have access to specialist equipment and resources, to develop the skills, which they may need in their future career.
View our campus pages [www.lincoln.ac.uk/home/campuslife/ourcampus/] to learn more about our teaching and learning facilities.
Graduates have secured employment as broadcast researchers, production assistants, programme producers, production managers, audio or video editors.
This course may be used as preparation for postgraduate study.
There are work experience opportunities through both the University's career service and our social enterprise New Media Lincs, some of which are paid.
There is an internship opportunity for up to two final year students with MACE (Media Archives of Central England), located within the School.
The University Careers and Employability Team offer qualified advisors who can work with students to provide tailored, individual support and careers advice during their time at the University. As a member of our alumni we also offer one-to-one support in the first year after completing a course, including access to events, vacancy information and website resources; with access to online vacancies and virtual resources for the following two years.
This service can include one-to-one coaching, CV advice and interview preparation to help you maximise our graduates future opportunities.
The service works closely with local, national and international employers, acting as a gateway to the business world.
Visit our Careers Service pages for further information. [http://www.lincoln.ac.uk/home/campuslife/studentsupport/careersservice/]
For each course students may find that there are additional costs. These may be with regard to the specific clothing, materials or equipment required, depending on their subject area. Some courses provide opportunities for students to undertake field work or field trips. Where these are compulsory, the cost for the travel, accommodation and meals may be covered by the University and so is included in the fee. Where these are optional students will normally (unless stated otherwise) be required to pay their own transportation, accommodation and meal costs.
With regards to text books, the University provides students who enrol with a comprehensive reading list and our extensive library holds either material or virtual versions of the core texts that students are required to read. However, students may prefer to purchase some of these for themselves and will therefore be responsible for this cost. Where there may be exceptions to this general rule, information will be displayed in a section titled Other Costs below.
There are no mandatory additional activities, which will incur a cost on this course.
Project costs can vary depending on the nature of the practical work chosen by the student. Students are asked to consider costs when proposing a project. There are funds currently available within the School to students at all levels to provide support with such projects.
Study abroad outside of Europe
Exchange students applying to study outside of Europe do not pay tuition fees at their host university.
Participants will usually be responsible for all other costs themselves, including travel, accommodation, visas, insurance, vaccinations and administrative fees at the host institution.
Students going on exchange keep their entitlement to UK sources of funding such as student loans and should apply to their awarding body in the normal way, indicating that they will be studying abroad.
If your time away is a mandatory part of your degree programme, you may be entitled to extra funding. You should ask your funding body about this.
You may also be able to apply to your LEA or the SAAS for further funding to assist with travel expenses - contact them to enquire.
|Full-time||£9,250 per level||£14,500 per level|
|Part-time||£77.09 per credit point†|
The University undergraduate tuition fee may increase year on year in line with government policy. This will enable us to continue to provide the best possible educational facilities and student experience.
In 2017/18, subject to final confirmation from government, there will be an inflationary adjustment to fees to £9,250 for new and returning UK/EU students. In 2018/19 there may be an increase in fees in line with inflation.
We will update this information when fees for 2017/18 are finalised.
†Please note that not all courses are available as a part-time option.