This highly-regarded taught programme offers the opportunity to engage in cross-disciplinary investigation of various aspects of cinema and moving image culture, and has diverse routes available via theoretical, vocational and practice-based perspectives to provide a uniquely flexible course. These routes allow students to combine vocational, theoretical and practice-based modules as preferred.
Theoretical modules involve study of British, American, European, Far Eastern and Middle Eastern Cinemas. Here, students will examine how film and television texts produced in these regions relate to their historical, social, and cultural contexts through a variety of critical and theoretical approaches, which range from aesthetics as cinematic discourse to the implications of terrorism for film and its audiences.
Vocational choices, which are available throughout, include Teaching Film and Media, Becoming an Academic, Film Festivals, Film Festivals Independent Study (that offer opportunities to attend a film festival, and to be involved in film festival organisation) and Film Journalism, supported by expert film critics, that develops skills required for the writing of film reviews and articles in journals such as Sight and Sound.
There are practice-based options to undertake experimental and documentary film production, and scriptwriting.
Full time students normally attend lectures for 9-11 hours per week, and part-time students attend 3-6 hours per week, depending on module choices. Most modules run on Thursdays so that a full time student might expect to attend from 10am – 9pm on Thursdays
Students are assessed via a diverse range of assignments including:
Course Specific Cost:
Course costs are at the usual MA rate with 20% discount for UoW graduates. The module Film Festivals requires an additional flat rate cost of £350 to over hotel, travel and festival entrance fee to a national/international Film Festival. Any additional cost for attendance at a film festival will be met by the university
Most of the modules are delivered at Light House Media centre which houses 2 purpose built cinemas. Otherwise, teaching is at other appropriate venues on City Campus. All teaching on the MA Film and Screen is informed by staff expertise, with their research directly underpinning each module. This expertise is reflected in the significant number of high-quality publications produced by Film and Media Staff who contributed successfully to REF2014.
Who will teach you on this course:
Dr Fran Pheasant-Kelly, Reader in Screen Studies, Faculty of Arts and Course Leader MA Film and Screen: teaches Space, Place and Culture in American Cinema, Screens of Terror, Becoming an Academic, and Far Eastern Cinemas
Dr Stella Hockenhull, Reader in Film and Television Studies, Faculty of Arts: teaches Picturing Britain and Screening Horror
Dr Eleanor Andrews, Senior Lecturer in Film Studies, Course Leader BA Film and Television Studies, Faculty of Arts: teaches Screening the Holocaust and Beyond
Dr Gavin Wilson, Lecturer in Film and Television Production, Faculty of Arts; teaches Film Festivals
Dr Peter Robinson, Principal Lecturer and Head of Marketing, Innovation, Leisure and Enterprise, University of Wolverhampton Business School
Dr Aleksandra Galasinska, Reader in Discourse and Social Transformation, Faculty of Arts: teaches Poetics and Practices of Polish Cinema
Dr Maria Urbina, Senior Lecturer in Multi-media Journalism, Faculty of Arts; teaches Film Journalism
You can specialise in either Film Practice or Film Studies. Our Film Practice PhD provides you with a unique opportunity to develop your film as a practice-led research project. Alternatively you can undertake a Film Studies, MPhil or PhD studying British, Algerian, Chinese, French or Latin American cinema.
As a Film Studies MPhil or PhD student you will form a crucial part of our research culture. Our thriving community of postgraduate students work across schools and disciplines. Research ranges from modern languages to English literature, English language, linguistics and arts and cultures.
We are keen to work with postgraduates in the major research projects listed below, or in the more general areas related to them. We supervise projects that span academic schools and sub-disciplines, ensuring the best fit between your interests and the expertise of our staff.
We organise an annual postgraduate conference for the Faculty of Humanities, Arts and Social Sciences and you can get involved in a number of film-related research seminars on campus, including:
You will benefit from the North Eastern Regional Film Seminar, which brings together film scholars from the Universities of Newcastle, Northumbria, Sunderland, Teesside, Durham and York for a one day symposium.
There is also the Film Factory, an exciting new film forum for students and staff, initiated by two PhD students from the School of Modern Languages, Gary Jenkins and Mani Sharpe. It consists of a series of film screenings followed by discussion and debate at the Culture Lab.
You will normally be taught on the Newcastle University campus. Attendance is flexible and agreed between you and your supervisors depending on the requirements of your research project.
You will have the opportunity to use Culture Lab, a centre for creative practice which includes a stock of film cameras and editing suites, as well as motioncapture, animation and soundmixing technology.
The Language Resource Centre and Peter Robinson Library hold large collections of international films and film magazines. You will also have access to a dedicated postgraduate suite including computers, workspaces, a kitchen and showers.
You will also have guided access to Tyne and Wear Archives.
Film and Television develops technical skills in compositional techniques and studio-based work. Designed for advanced composers, it provides an in-depth specialist training. Contextual knowledge of mainstream repertoire and significant previous experience of composition and orchestration are required.
The MMus in Composition for Film and Television at London College of Music (LCM) is one of the longest-established qualifications of its kind. The course provides an ideal opportunity for in-depth examination of specific techniques (both historical and current) employed in the creation of music for modern media, and for drawing upon these procedures in a practical context by composing music for a diverse range of genres, including…
• television thrillers
• video game trailers
• science fiction
• dramatic cinema
• silent film
• costume drama
• documentary and…
In addition, you will hone and refine your skills as orchestrators by writing for a variety of specified ensembles. You will also expand your musical and dramatic vocabulary via an imaginative series of compositional pastiche exercises (an integral feature of the portfolio submission during Semester 1).
You will undertake further assessments in film score analysis (taking the form of an extended contextual essay, based upon a score/composer of your own choice) and in-studio ensemble conducting, working 'to click' with a group of 'live' performing musicians.
The course is taught mainly through individual tutorials, but may include group work, workshops, seminars and lectures.
We assess written portfolio work through portfolios of compositions responding to verbal briefs, and in the second semester (or second year for part-time students), composing direct to picture. There is also a practical assessment in the Film and Television Score Production module and an extended essay project for the Business of Music module. There is a viva voce exam as part of the portfolio submissions in both semesters (or both years for part-time students).
Course alumni have gone on to compose music for an excitingly diverse range of projects and for an impressive list of clients, including the BBC, BBC Worldwide, BBC Three, The National Theatre, Youth Music Theatre UK, Projection Pictures, The National Theatre, Sky, Channel 4 and the British Film Institute.
Also, in addition to orchestrating their own music, many specialise in orchestrating and conducting the music of other (notable) film composers.
While most students progress directly into the industry after completing this course, graduates may alternatively choose to undertake a PhD or further their compositional studies with a DMus.
Click the following link for information on how to apply to this course.
Information about scholarships and bursaries can be found here.
Contemporary culture is characterised by nothing if not a reawakened interest in the Gothic, be that in the form of the current vogue for horror film, in the heightened preoccupation with terror and monstrosity in the media, the extraordinary success of writers such as Stephen King and Stephenie Meyer, or in manifestations of an alternative Gothic impulse in fashion, music and lifestyle.
As the countless adaptations and retellings of texts such as Mary Shelley’s Frankenstein (1818; 1831) and Bram Stoker’s Dracula (1897) in our own day attest, the Gothic, though once relegated to a dark corner of literary history, has assumed a position of considerable cultural prominence.
The MLitt in The Gothic Imagination at the University of Stirling provides students with the unique opportunity to steep themselves in the scholarly appreciation of this mode, providing a rigorous and intensive historical survey of its literary origins and developments, and charting its dispersal across a broad range of media and national contexts. In so doing, the course equips its graduates with the necessary theoretical vocabulary to address, and critically reflect upon, the Gothic as a complex and multi-faceted cultural phenomenon, while also preparing them for further postgraduate research in the rich and vibrant field of Gothic Studies. In addition to these subject-specific objectives, the MLitt in The Gothic Imagination also provides its graduates with several invaluable transferable skills, including critical thinking, theoretical conceptualisation, historical periodization and independent research.
- Degree type: MLitt, Postgraduate Diploma, Postgraduate Certificate
- Study methods: Part-time, Full-time
- Duration: Full-time; MLitt-12 months, Part-time: MLitt-27 months,
- Start date: September
- Course Director: Dr Timothy Jones
- The MLitt in the Gothic Imagination consists of four core modules, two option modules, and a dissertation. Across these components, the course aims to provide students with a rigorous grounding in the work and thematic preoccupations of the most influential Gothic writers, both historical and contemporary. Supplemented by relevant historical and theoretical material throughout, the course aims to provide as rich and varied an exposure to the academic study of the Gothic as possible.
- The first two core modules seek to provide a searching historical overview of the genesis and development of the Gothic aesthetic, taking students systematically from the circulation of the term ‘Gothic’ in the political and aesthetic discourses of the late seventeeth and eighteenth centuries, through the late eighteenth-century writings of Horace Walpole, Ann Radcliffe, Matthew Lewis and Charlotte Dacre, and into the nineteenth-century fictions of writers such as Charles Maturin, Mary Shelley, Charles Dickens, the Brontës, Sheridan Le Fanu, Robert Louis Stevenson, Bram Stoker and Oscar Wilde.
- The second and third core modules, on Gothic in modern, modernist and postmodern writing, include texts by authors such as Gaston Leroux, Algernon Blackwood, H.P. Lovecraft, Djuna Barnes; Mervyn Peake, Shirley Jackson, Stephen King, Anne Rice, Joyce Carol Oates, Toni Morrison and Patrick McGrath.
- Option modules vary from year to year, depending on student interest and demand. Recent option topics have included the Gothic on the Romantic Stage; Nineteenth-century American Gothic; Transmutations of the Vampire; The Gothic in Children’s Literature; Monstrosity; The Female Gothic; Queer Gothic; and Gothic in/and Modern Horror Cinema.
- At the dissertation stage, students are encouraged to undertake independent, supervised research on any particular interest within Gothic studies that they might wish to pursue. Subject to the agreement of the course director, a creative writing dissertation may be undertaken at this stage.
If English is not your first language you must have one of the following qualifications as evidence of your English language skills:
- IELTS: 6.0 with 5.5 minimum in each skill
- Cambridge Certificate of Proficiency in English (CPE): Grade C
- Cambridge Certificate of Advanced English (CAE): Grade C
- Pearson Test of English (Academic): 54 with 51 in each component
- IBT TOEFL: 80 with no subtest less than 17
For more information go to English language requirements https://www.stir.ac.uk/study-in-the-uk/entry-requirements/english/
If you don’t meet the required score you may be able to register for one of our pre-sessional English courses. To register you must hold a conditional offer for your course and have an IELTS score 0.5 or 1.0 below the required standard. View the range of pre-sessional courses http://www.intohigher.com/uk/en-gb/our-centres/into-university-of-stirling/studying/our-courses/course-list/pre-sessional-english.aspx .
Two hours of seminars per module per week, plus individual consultations and supervisions with members of staff. Assessment is by means of a 4,000-word essay for each core module, and a variety of skills-based assessments (such as presentations; portfolios; blog-entries) for optional modules. All students complete a 15,000-word dissertation on a topic of their choice once optional and core modules have been completed.
With course-work assessed solely by means of independently devised, researched and executed essays, the MLitt in The Gothic Imagination equips students with a number of the skills and abilities that are prized and actively sought after by employers across the private and public sectors. These include the ability to process and reflect critically upon cultural forms; the ability to organise, present and express ideas clearly and logically; the ability to understand complex theoretical ideas; and the ability to undertake extended independent research.
Previous graduates of the course have gone on to pursue successful careers in such fields as teaching, publishing, research, academia, advertising, journalism and the film industry.
The 15,000-word dissertation that is submitted towards the end of the course allows students to devise, develop, support and defend their own academic ideas across an extended piece of written work; addition to the skills of independence, organisation and expression fostered by this exercise, the dissertation also provides an excellent point of entry into more advanced forms of postgraduate research, including the Doctoral degree.
This innovative course introduces you to advanced level study of the various aspects of popular culture; principally that produced and consumed in Britain since the late nineteenth century
The programme consists of a broad range of modules from a number of academic disciplines, including History, English, Sociology, Cultural Studies, Religious Studies, and Film Studies
All modules are taught by experts in their respective fields, and informed by research at the forefront of the various disciplines. For your own independent research into popular culture, we can also offer supervision in a wide range of areas and approaches
You will experience a variety of teaching methods with a high level of input from students on the course. Assessment is largely by coursework, essays and presentations
Typical modules may include:
This is the only postgraduate course on Popular Culture in the UK, and the only one in the world to focus principally on the British experience, either as consumers of international culture, or through Britain’s unique contribution to youth and pop culture.
You will bring to your studies a rich and individual experience in the consumption, interpretation, dissemination and – perhaps – the production of popular culture. On the course you will encounter many more varieties of cultural experience, and you will study theories and approaches with which you can make a different kind of sense out of them. On this programme, more than most, where you are when you end the course will depend on what you bring to it, and what you choose to take from it. But you will inevitably encounter materials and analytical methodologies you have not previously had experience of, and you will be given a valuable opportunity to discover and experiment with alternative approaches to the field of popular culture.