BA (Hons) Film and Television
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BA (Hons) Film and Television at the University of Lincoln is designed to enhance your understanding of issues pertinent to national and global media industries as well as individual films and programmes, to expand your ability to engage in independent study as well as work creatively in a team, and to provide opportunities to develop creative, critical, technical and organisational skills linked to employment in the media industries and elsewhere.
According to the Association of Graduate Careers Advisory Services (AGCAS), '40% of vacancies for graduates in the UK do not ask for specific degree subjects. A degree is taken as evidence of intellectual prowess. More important to potential employers is the range of transferable skills and experience which you can demonstrate.' Transferable skills which employers value include constructing arguments and advancing them through discussion, and understanding theoretical models before being able to question and criticise them. These are central to the study of Film and Television at Lincoln.
Film and television has become a cultural phenomenon. Students will undertake academic study into both of these areas, complemented by creative opportunities and technical training in scriptwriting, production planning and single-camera and multiple-camera production.
The course responds to the need for graduates to understand the uses of technology and technological change, and the importance of media in the formation of national and other identities.
Alongside practical work, students will carry out critical studies in film and television, examining the subjects from the point of view of both practitioners and audiences. They will have access to facilities including two television studios, sound studios, eight editing suites and digital media labs.
The course aims to prepare students for careers in the growing cultural industry and for further training or study at postgraduate level.
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 the equivalent). In addition to the minimum of two A Levels, other qualifications such as AS Levels, the Extended Project and the ASDAN CoPE for example, will be counted towards the 300 point requirement.
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.
Applicants will also be required to have at least three GCSEs at grade C or above (or the equivalent), including English Language.
Applications are welcomed from mature students who are studying towards an Access to Higher Education programme. A minimum of 45 level 3 credits at merit or above will be required. We will also consider applicants with extensive relevant work experience.
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.
For international students who do not meet criteria for direct entry to this degree we offer the International Year One in Media Studies. Depending on your English language level you will study 3 or 4 terms then progress directly to the second year of this degree.
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.
Debates and Developments in 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 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.
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 of Media course as appropriate.
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.
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
High satisfaction rates for Lincoln School of Media in the National Student Survey.
Typically, 73% of Lincoln School of Media graduates achieve 'Degree' category employment within 12 months of graduating. National growth in the creative industries continues to provide encouraging employment prospects.
We are ranked nationally in the top 25% of departments for research. 95% of media-related research at Lincoln was to international standard, and 15% world-leading, in the UK Research Assessment Exercise 2008.
The School is home to the AHRC funded 'Televising History' project led by Professor Ann Gray.
Experienced practitioner staff includes winners of prestigious film festival awards.
Our students are building a strong reputation in the industry – not only through their record of graduate employment but also by entering work into competitions. 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.
Staff include continuing media practitioners who maintain valuable industry contacts. The course benefits from advice, collaboration and guidance provided to the Lincoln School of Media from senior managers and practitioners in many creative industry and community organisations. Honorary doctorates include international film director Mike Newell. Among our visiting professors are Neil McKay, BAFTA-award winning television dramatist, and documentary-maker Nick Gray. Professor Brian Winston, an Emmy-award winning filmmaker and world-renowned expert on documentary, is a former Dean of the Faculty and continues to work closely with the School.
The School engages in significant external outreach and community work. 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.
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.
The academic team are engaged with professional bodies such as the Royal Television Society, the British Society of Cinematographers the UK Media, Communication and Cultural Studies Association and the Art, Design & Media Subject Centre of The Higher Education Academy.
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/]
The Lincoln School of Media houses two major television studios, sound studios (including multi-track) and eight audio editing suites, eight Avid editing suites, a dedicated script development lab, various other media production facilities including digital media labs, a multi-format transfer facility, photography studios, darkroom and workshop, design studios, and a range of seminar and lecture rooms.
This is all located within a dedicated college building, allowing for integrated and converged ways of working to support educational activity and development of a vibrant centre of excellence.
Potential careers include include working as a broadcast researcher, production assistant, programme producer, production manager, audio or video editor or a journalist.
Media-related opportunities could lead to a career in advertising, public relations, media relations and management, marketing and market research, information technology, education, publishing, arts and media administration and the performing arts.
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/studentcareersservice/]
Media Storage: £105
At the University of Lincoln, we provide access to excellent teaching and learning facilities, library materials, laboratories, laboratory equipment, consumables and IT equipment that you would expect to find included in your tuition fee.
In addition, we cover other necessary costs associated with modules which are a compulsory part of your course. These compulsory items are included in your tuition fee.
||£9,000 Per level
(Full and part-time)
|£12,755 Per level|
|2014 Entry||£9,000 Per level
(Full and part-time)
|£13,648 Per level|
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/]