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Masters Degrees (Film Preservation)

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A ground-breaking new MA delivered in partnership with the BFI to prepare students to build successful careers in film exhibition, programming, criticism or archival work. Read more
A ground-breaking new MA delivered in partnership with the BFI to prepare students to build successful careers in film exhibition, programming, criticism or archival work.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/film-studies-programming-and-curation

APPLICATION DEADLINE: 08 SEP 2016

COURSE OVERVIEW

- The course is delivered in partnership with the BFI (the leading body for film in the UK) who will also provide hands-on placement opportunities across a range of curatorial and critical activities.
- The course is delivered by film professionals in film exhibition and distribution, festivals, archives and film criticism, alongside academics and film makers
- Students on the course will attend film festivals.
- Students learn how to conceptualise film work in terms of idea, form and style, as well as understanding the relationship between film and audience.
- Students will learn about the practicalities of film exhibition, distribution and preservation in the changing digital landscape.
- Students will study the practice of film criticism and comment, including reviewing and critical writing about films, filmmakers and the broader culture.
- Students have the opportunity to mount festivals, pop up screenings and other events.

This course commences at the end of January each year.

The National Film and Television School’s Film Studies Programming and Curation Masters delivered in partnership with the BFI is designed for students who wish to make a career in the wider film and media culture, whether in the fields of curation, exhibition, criticism, archives, preservation or restoration. The course provides a detailed understanding of the concepts, contexts and critical thought that have shaped the production and reception of film as a basis for engagement with rapidly changing contemporary film and moving image culture. A rigorous academic framework is combined with real world applications enabling each student to develop their own skills, knowledge and understanding to provide a strong basis for a career in film and media.

The philosophy of this course is to give students a theoretical, historical and critical understanding of film, which they will apply practically in the fields of film curating and programming, distribution and archiving.

With all the resources of the National Film and Television School available to them, students on this Master’s programme benefit from working alongside a new generation of filmmakers, encouraging creative dialogue between makers and curators/critics.

CURRICULUM

Students on this course gain a thorough understanding of the process by which a film moves from a creative idea to an audience experience. They will explore the history, theory and critical contexts of film. In addition they will look at a variety of critical writing on film, to give them access to the major ideas that inform film.

Optional units and a professional placement allow a more specialised focus on industry practices in programming, curation, archives and film criticism through project work and research portfolios.

1: Conceptualising Film: Idea, Form and Style

The unit provides an introduction to key ways of conceptualising film that underpin approaches to critical, theoretical and creative practice. The main topics include:

- The Evolution of the moving image – from scientific experiment to mass entertainment and beyond
- Ways of seeing: approaches to studying film
- The development of an industry and its audience. Film and Commerce
- Film and Realism: Cinema as a Mirror of Society?
- The Subconscious Art: Dream Cinema and the language of film
- Historical movements in Cinema: Influential developments, including the early avant-garde, Italian neo-realism, the Nouvelle Vague, Third Cinema
- Contemporary and British World Cinema: approaches development and trends
- Film Forum: the evolution of film criticism and comment
- Film and Digital Media (technology, and the impact on form and style)
- Expanded cinema: Film as a gallery experience, film as a live event

The unit draws on a wide range of illustrative film examples, and explores each concept with in-depth analysis of one or more key films. Each topic will be introduced by a film and media practitioner and/or an academic.

Students will write an essay in order to explore one of the key concepts.

2: Identifying the Audience: The Practice of Cinema from Idea to Exhibition

This unit looks at the changing sites and forms of film viewing, providing a detailed exploration of the cultural, economic and technological contexts that structure the processes and pathways by which films reach an audience. Whilst primary examples will largely be drawn from Europe and the USA, these will be considered in a global context.

- Audiences: bringing people together to watch films: who, why and how, from fairground attraction to movie palace to pop-up and online.
- The relationship between production and audiences: creativity, development journeys, film finance and funding.
- Contemporary patterns of distribution: buying and selling films in a multi-platform world; from conglomeration and globalisation to independence and self-distribution
- The business of contemporary exhibition: the ‘majors’ and the alternatives; the digital revolution
- Cultural cinema in the UK and Europe; the status of ‘specialised cinema’, including repertory and archive film
- Film Festivals and markets: cultural and economic impact; models of programming;
- Programming for diverse audiences
- Programming beyond the single screen: event cinema, alternative content, installation and on-line platforms
- Marketing and promotion: identifying, reaching and developing audiences
- Critics and criticism in the age of the internet and social media: continuity and change
- Reception: case studies

In addition to regular lectures and seminars by NFTS tutors, the teaching programme includes a wide range of talks by cinema and festival directors and programmers; industry executives working in exhibition, distribution, sales and marketing; venue and event managers; filmmakers and critics.

Students will prepare and present a case study one of the subject areas.

3: Programming Film & Cultural Events and Film Preservation and Restoration

This unit is broken into two strands with students participating in both.

Informed by the study in Parts A and B, there will be in-depth sessions on programming, including researching programme and event ideas, developing themes, selecting work to meet cultural and commercial imperatives, copywriting and devising marketing strategies. Practical issues regarding rights and availability, projection and technical presentation, producing publicity materials and on-stage introductions and Q&A hosting will all be covered.

The film preservation and restoration strand will cover understanding film materials, the impact of digitization on film preservation, and its limits; sessions will also explore issues of curatorial practice with regard both to collecting and exhibiting work and will consider the presentation and reception of archive material across a range of exhibition platforms. Students will also have the opportunity to visit archives, a specialised film collection, film laboratory or digital media centre.

During this part of the course students will attend the London Film Festival

4: Dissertation

As part of the dissertation module a number of specialised workshops will be arranged to enable students to explore a strand related to their dissertation in greater detail.

The dissertation may take the form of an extended piece of film criticism or an original exploration of aspects of film culture, genre or cinema history.

5: Graduation Project

The Graduation Project will be both a theoretical and practical exploration of their chosen subject and specialist areas. For example if a student wishes to explore sites and forms of cinema they will organise a pop-up cinema experience and deliver a written or video essay that explores the themes and concepts.

6: Professional Placement

During the process of developing the graduation portfolio each student will also undertake a 1-2 month professional placement.

7: Meet The Industry

A series of familiarisation visits to venues and projects with a variety of curatorial and critical approaches, to help provide students with a further sense of possible career options.

METHODS

In addition to a wide range of screenings and seminars, the course provides hands-on approach to teaching and learning through workshops, group projects, field trips, personal research, portfolio as well as professional placements (at Festivals, Cinemas etc). For example, students work in small groups to develop portfolios (e.g. promotional strategy for a film) and workshops (e.g. peer review in film criticism).

ENTRY REQUIREMENTS

This course invites applications from students with a BA (Hons) degree (or equivalent) in arts, humanities or science. Film and media related degrees, while welcome, are not essential for admission.

Applicants without a first degree but with professional experience may also be considered for admission. In these cases an appropriate piece of written work will be required, along with details of professional qualifications. The application will then be referred to the NFTS concessions committee for consideration.

APPLY WITH

- Please submit a brief essay on either a) The preservation of film culture, through archiving, exhibition and restoration
Or b) Discuss the changing forms of cinema distribution and exhibition.

- Write a review of either: a) A contemporary film that has impressed you, or, b) an earlier film that you believe to be of artistic or historical importance. The review should not exceed 1,000 words.

- Choose a movement in cinema or one particular national cinema that is important to you. Briefly discuss your personal response to it. This should not exceed 1,000 words

- Discuss one author or film critic, or one book of critical writing on film that has influenced you. Discuss why you have found this author/book of value to you.

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

APPLY FOR FILM STUDIES PROGRAMMING & CURATION COURSE - https://nfts.co.uk/sign-me-up/apply-now/?nid=1857

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

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Since 1984, UBC’s Department of Theatre and Film has granted MA degrees in Film Studies. The MA is a two year program with thesis. Read more

Film Studies

Since 1984, UBC’s Department of Theatre and Film has granted MA degrees in Film Studies. The MA is a two year program with thesis. We’re looking for recent and upcoming graduates of undergraduate film and media studies programs.

Moving pictures dominate today’s world. Whether accessed via the internet, home media systems, or the traditional theatre, the reach of the moving picture industry is truly global, and its impacts are felt on every level: locally, nationally, and internationally. The study of moving images provides a major way of thinking about our approach to reality. In this context, it is essential to analyze film forms, theories, aesthetics, receptions, and policies and to thoroughly understand cinema in relation to history and culture.

In our BA in Film Studies and MA in Film Studies programs, our mission is to educate students in the diversity of cinematic practices, and in their historical and contemporary formats. We aim to provide a supportive environment in which students can discuss the role that moving pictures play in various societies, and how they mediate our perceptions of the world. Our aim is to teach students in a liberal arts context that will help to prepare them for a wide range of careers, including teaching, curating, policy-making, programming and distribution, preservation, filmmaking, writing, consulting, and arts administration.

UBC Vancouver is a remarkable place to study film. In addition to the resources of the university, we benefit from the fact that the Vancouver region has the largest film industry activity in Canada, popularly known as “Hollywood North”. The city also hosts several high-profile festivals and dedicated institutions that program independent international and Canadian cinema.

The Film Studies Faculty members are renowned experts in the various specialties of film studies. They are actively engaged in researching and publishing on cinema in its diverse forms. They chair academic conferences, and they maintain a public profile as intellectuals concerned with the heritage and future of moving pictures. Their dedication provides a stimulating intellectual environment for students.

The Film Studies faculty founded and operates The Centre for Cinema Studies at UBC, which aims to advance the scholarly study of film and film culture. Graduate students in the MA in Film Studies Program edit and publish a freeʪournal of film studies, entitled Cinephile. Our Visual Resources Centre houses over 5,000 film titles in various formats, and is an essential research resource for students and faculty.

Quick Facts

- Degree: Master of Arts
- Specialization: Film Studies
- Subject: Creative and Performing Arts
- Mode of delivery: On campus
- Program components: Coursework + Thesis required
- Faculty: Faculty of Arts

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See the department website - http://cias.rit.edu/schools/film-animation/graduate-film-and-animation. The MFA program in film and animation enjoys state-of-the-art facilities. Read more
See the department website - http://cias.rit.edu/schools/film-animation/graduate-film-and-animation

The MFA program in film and animation enjoys state-of-the-art facilities. Students can create live-action production, screens, 2D, 3D or stop motion animation that is unique. The program is housed in a School of Film and Animation with full production facilities, as well as the additional support of highly specialized faculty in photography, imaging science, computer science, information technology, and printing.

Goals

The program provides students with the opportunity to use animation, filmmaking, and other imaging arts as a means to:

- pursue a career and earn a livelihood,
- enrich their personal lives and society as a whole, and
- encourage a sense of community, creativity, scholarship, and purpose.

Plan of study

The MFA in film and animation offers four options:

1. 2D animation concentrates on traditional forms drawn by hand, a mixture of both traditional and digital, or all digital origination. Students may concentrate their studies on stop motion puppet animation.

2. 3D animation courses focus on advanced 3D modeling, lighting, texturing, and animating in a 3D space.

3. Production allows students to develop and refine their creative approach to fictional narrative, documentary, and experimental work.

4. Screenwriting is an opportunity for students to complete short films with a concentration in creating feature length screenplays.

All four options require two years of course work and a thesis project. A complete film is required of all the first year students, a complete film or script is required in the second year, and a more ambitious thesis film or feature length script is required in the third year, which is a part-time student status focused only on the thesis film.

A minimum of 63 semester credit hours of graduate work is outlined below.

Electives

SOFA elective courses are available in animation, film, video, multimedia, screenwriting, printmaking, painting, sculpture, communication design, museum studies, crafts, bookmaking, typography, color photography, new media, studio photography, advertising photography, perception, sensitometry, computer graphics, art history, and archival preservation and conservation. There are also opportunities for independent studies, internships, and concentrations.

Thesis

Specific instructions pertaining to the thesis are available in the “MFA Guide for Students and Faculty: Policy Regarding Student Work.” The School of Film and Animation reserves the right to retain copies of student-produced films to be used for educational purposes, to show to prospective students, and as examples of student productions.

Admission requirements

Scores from the Graduate Record Exam (GRE) are not required for admission. International students are required to submit English language test scores such as TOEFL. Applicants who are capable of good academic work as well as artistic visual expression, and who demonstrate an interest in the exploration of new artistic ideas and experiences, will be favored. The graduate faculty makes recommendations based on the above interlocking criteria.

Students who are evaluated to have MFA potential but need additional study in preparation for graduate courses will be advised to take such courses either prior to entrance or during their first year of study.

All correspondence concerning applications or catalogs should be addressed to the Office of Graduate Enrollment Services. Students interested in the program should have their application process completed by January 15. Applications received later than January 15 are considered on a space-available basis.

- Portfolio

The review committee is looking for work that is original in concept and content. It does not need to necessarily be motion media, but should be visual or aural. Examples include films/videos, photos, drawings, paintings, sculpture, stop motion puppets, scripts, storyboards, and original music.

Applicants must present what they consider to be the best of their work, not all of their work. Films or videos should total 12-minutes or less. A short, complete piece of work is preferable to a demo reel. If there are no short works then a 12-minute excerpt of a longer piece is acceptable.

Applicants must place their portfolios on a Web or FTP site, such as Vimeo or YouTube, which can be easily accessed by RIT faculty for review. Your application should include a URL Web or FTP address to your online portfolio. If your portfolio is placed on a shared Web or FTP site that contains other files, be sure the file name contains your full name (which must match the name used on your application materials). When applicable, please include any usernames and/or passwords necessary for access to your portfolio. Please provide an inventory sheet or table of contents with your portfolio, and if it is not obvious, clearly indicate what your combination was to group and collaborative pieces. This can be a separate description or can be included in the portfolio presentation.

Applicants are also required to produce a 2 to 3 minute video self-portrait to accompany the online portfolio. This should include information about the applicant such as why you want to attend the School of Film and Animation, which concentration you wish to pursue, and why. Please include information about one significant accomplishment you have made. Sound and picture quality should be clear. The online portfolio and self-portrait must be mounted on Slideroom.com once a Slideroom account is established.

For more information about portfolio guidelines as well as assistance in uploading an online portfolio, contact Graduate Enrollment Services.

- Transfer credit

Graduate-level course work taken prior to admission should be submitted for approval upon entrance into the program. Up to 8 semester credit hours of graduate work with a grade of B or better is transferable and may be counted toward the MFA degree, with the approval of the graduate faculty.

- Grades

Students must maintain a B (3.0) average GPA to meet graduation requirements for the MFA. Thesis hours are usually completed over several semesters. Acceptance or rejection of the thesis is made by the candidate’s thesis board and the graduate faculty.

- Maximum time limit

University policy requires that graduate programs be completed within seven years of the student's initial registration for courses in the program. Bridge courses are excluded.

- Screenings

Screenings are required for all student-produced films and are coordinated through the professor or the thesis chair.

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This interdisciplinary programme is taught by staff from a wide range of departments at UCL, all international experts in the field of film studies. Read more
This interdisciplinary programme is taught by staff from a wide range of departments at UCL, all international experts in the field of film studies. Linguistic and cultural expertise informs our teaching on the film-making traditions of Europe, the Americas, the Middle East, Asia and Southeast Asia.

Degree information

The programme covers the history of cinema and a wide variety of world cinemas. It is designed to provide students with advanced knowledge of both the history of cinema and its contemporary developments, and with the skills, concepts, methods and theories required for the study of cinema and media at graduate level.

Students undertake modules to the value of 180 credits.

The programme consists of one core module (30 credits), three options (90 credits), a dissertation (60 credits) and a research methodology module (not credit bearing).

Core modules
-Moving Images: Technology, Forms, Receptions
-Reading and Research Films

Optional modules
-Ancient Rome on Film
-Film Exhibition
-Genre in Italian Cinema
-Hollywood Genres
-How to Make an 8-Minute Documentary
-New Argentine Cinema
-Nordic Cinema: Contextualising Dreyer, Bergman and Dogme
-Political Cinema
-Russian Cinema: Epochs and Genres
-Spanish Film
-The French New Wave
-The Idea of Documentary
-Theories and Practices of Film
-Global Cinemas
-Digital Media
-East and South Asian Cinemas

Dissertation/report
All MA students undertake an independent research project which culminates in a dissertation of 12,000 words.

Teaching and learning
The programme is delivered through a combination of lectures, seminars, tutorials, and film and video screenings. The core courses are assessed by essays and examinations, which together count for 20% of the final mark. Optional courses are assessed by essays (40%), and the dissertation makes up the final 40%.

Careers

Graduates from the MA in Film Studies have pursued various careers, including: academic research and teaching; careers within media arts (writing, directing, editing); print and media journalism; arts and museum management; multimedia authoring and digital design; film preservation and curating.

Top career destinations for this degree:
-Lecturer, SOAS, University of London
-Communication Officer, Camera Lucida Productions
-Head of Development, Clcada Bellweather (CB Productions)
-Media and Film Studies Lecturer, City and Islington College
-Programme Assistant, ICA (Institute of Contemporary Arts)

Employability
Former students of this programme have gone on to careers in education and publishing and a wide variety of careers in the media arts, including film production, festival programming, and film curation with organisations that include the BBC, the Barbican Centre, the Athens International Film Festival, and the London Film School.

Why study this degree at UCL?

Each year, we welcome students from all over the world to our Film Studies MA. Under the aegis of UCL's Centre for Multidisciplinary and Intercultural Inquiry (CMII), students spend a year amongst a thriving, cross-disciplinary community of cinema scholars and research students.

We have particular research strengths in film history, film theory, and in an exceptionally broad range of national and regional cinemas.

UCL has made a major commitment to refurbishing its multimedia infrastructure for the study of film and related media. This includes building a significant collection of print and visual materials and new facilities for teaching and for film and media screenings.

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The Masters in Dress & Textile Histories provides you with the skills to research and interpret the history of dress and textiles. Read more
The Masters in Dress & Textile Histories provides you with the skills to research and interpret the history of dress and textiles. Drawing on the knowledge of interdisciplinary academic and curatorial experts, the programme combines taught and research components based on a combination of theoretical and object based approaches. Working with museum collections, archives and historic interiors you will also be given a unique insight into the curation, interpretation and preservation of historic dress and textile collections.

Why this programme

-The programme provides you with a unique opportunity within the UK to study historic dress and textiles, enabling you to develop knowledge and understanding of theory and practice in dress and textile histories in a critical and/or historical context
-Scotland has a rich textile heritage and Glasgow is the ideal city in which to study dress and textile history, as there are internationally significant object and archival collections in the city and close by, including the National Museums Scotland, Paisley Museum and Art Gallery, and the Scottish Business Archives at the University of Glasgow.
-You will have privileged access to primary source material, objects and archives, including at the University of Glasgow’s Hunterian Museum and Art Gallery and Glasgow Museums.
-The work placement option will enable you to develop your professional expertise within the heritage sector.

Programme structure

The taught component consists of three core courses and three optional courses running over two semesters. This is followed by a period of supervised research and writing of the dissertation which is submitted at the end of August. The dissertation is 15,000 words in length (including footnotes but excluding bibliography) and will be an in-depth critical exploration on a topic chosen in consultation with the tutors and the programme convenor.

A number of study visits are built into the programme, introducing important local collections. You will also undertake a four-day study trip to see relevant collections in another UK city.

Teaching is delivered by a combination of in-house specialist and visiting scholars and experts. The lectures are enhanced by seminar discussions, some based in museums and galleries, giving you the opportunity to present your ideas and discuss them with classmates in a supportive yet challenging environment.

Core courses
-Framing Dress and Textile Histories
-Research Methods in Practice
-Museums and the Making of Dress and Textile Histories

Optional courses
-The Birth of Modern Fashion? Textiles and Dress, 1680 - 1815
-Understanding Textiles
-Victorian Visions: Dress and Textiles c.1837-1901
-Material Cultures

You may also choose from the following options run by History of Art:
-Work placement
-Independent study

Or from the following options in the College of Arts:
-A Humanities Advanced Technology and Information Institution (HATII) course : 2D Digitisation (Theory and Practice)
-A course from elsewhere in the College of Arts, subject to the approval of the programme convenor.

Career prospects

The attributes you gain will be attractive to employers from museums, the heritage sector, art dealers and auction houses. You could also get into theatre, film and television production as a costume researcher/designer. The programme also offers an excellent foundation upon which to progress to PhD studies and an academic career.

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