Film and Creative Writing (Placement Year) BA Hons - 2019 Entry

Course Overview

Lancaster's degree in Film and Creative Writing is taught jointly by the Lancaster Institute for the Contemporary Arts (LICA) and the Department of English and Creative Writing. It combines the study of Film with the writing of original and imaginative fiction, poetry or plays. These two different focuses reinforce and complement each other. 

Your Creative Writing courses are taught by a team of widely published authors through a combination of lectures, readings, practice and discussion in regular tutor-led workshops. Your degree includes an Introduction to Creative Writing in your first year, and in your second and third years of study you will choose additional genre-specific units such as Short Fiction, Poetry Writing or Creative Non-fiction.

Film at Lancaster is a stimulating and intellectually engaging course which provides a framework for the close analysis of individual films. You will study cinema history and the social significance of films and will develop a detailed understanding of the techniques of film production. You will also have the opportunity to produce short films in all three years of your study. You can choose from a range of specialist courses and will develop skills that can lead to postgraduate study and careers in the media, advertising and marketing.

You will begin your degree with core courses including an Introduction to Film and Creative Writing.
In your second year you’ll move on to subjects such as Global Cinema, Intermediate Creative Writing and our LICA interdisciplinary module Critical Reflections. You will then complete your degree with further Creative Writing modules and chose from a selection of optional Film modules including Contemporary Hong Kong cinema and The Cultural History of American Film.

You will have the opportunity to spend Year 3 on placement with a public, private or voluntary organisation in the UK or overseas.  This experience will boost your employment prospects and will help you to decide on your career direction and the kind of organisation in which you want to work once you graduate. You will be doing a real, responsible job – with all the satisfaction that brings.  Our Placements Team will support you in finding and applying for a suitable placement that will support your professional development. Applying for a placement is a competitive process and the preparatory modules you will complete in years one and two are designed to give you the best chance of success in your placement applications.  You will also be provided with dedicated workshops, 1:1 appointments with careers professionals as well as opportunities to speak with employers here on campus.

During the placement year you will remain a Lancaster University student which means that you will still be eligible for a student loan, have access to facilities such as the library and receive discounts on transport and council tax.  Your tuition fee will be reduced to 20% during the placement year. 

The placement will enhance your understanding of the connections between theory and practice and this will benefit your final year of study.  This is an exciting opportunity to build up experience and transferable skills, as well as to make contacts with potential employers which will place you a step ahead in the graduate recruitment market.

Entry Requirements

Grade Requirements

A Level ABB

Required Subjects A level in one of the following subjects: Creative Writing, English language, English Literature or A level English Language and Literature.

IELTS 6.5 overall with at least 5.5 in each component. For other English language qualifications we accept, please see our English language requirements webpages.

Other Qualifications

International Baccalaureate 32 points overall with 16 points from the best 3 Higher Level subjects including a HL Literature or HL Language and Literature subject

BTEC Distinction, Distinction, Merit considered alongside A level Creative Writing, English language, English Literature or A level English Language and Literature

We welcome applications from students with a range of alternative UK and international qualifications, including combinations of qualification. Further guidance on admission to the University, including other qualifications that we accept, frequently asked questions and information on applying, can be found on our general admissions webpages.

Contact Admissions Team + 44 (0) 1524 592028 or via ugadmissions@lancaster.ac.uk

Course Structure

Many of Lancaster's degree programmes are flexible, offering students the opportunity to cover a wide selection of subject areas to complement their main specialism. You will be able to study a range of modules, some examples of which are listed below.

Year 1

Core

• Introduction to Creative Writing

  This module develops the skills, knowledge and confidence of apprentice writers and their command and enjoyment of the craft. It approaches literature as something made by individuals out of their experience, imagination and knowledge, rather than as finished artefacts encountered as commodities. The module encourages you to experiment with different forms and approaches, to discover your individual strengths as a writer, whether of poetry, prose or drama.

  Lectures provide insight into a syllabus of key skills, techniques and approaches to writing poetry, prose fiction and drama. Workshops are tailored to reflect on the content of the weekly lectures and put these skills, techniques and approaches into practice. You will discuss in detail each others’ works-in-progress, developing critical and editorial skills and insight into the writing process. These skills and insight are then applied to your own, as well as peers' work. The 'Reading for Technique' element of the module allows you to develop skills to read as a writer, rather than as a critic or general reader.

• Introduction to Film Studies

  This module is intended to provide you with the essential knowledge and competencies to undertake the academic study of film at university level. The first term provides you with an understanding of the formal and technical composition of films to allow you to undertake detailed analysis of films, from the level of close scrutiny of individual images, and their interrelation with the soundtrack, to the narrative assembly of shots and scenes. Through the analysis of a range of examples, you will become familiar with the key formal and semantic conventions of cinema. The second term is designed to provide you with a framework knowledge of world film history. By focusing on a selection of key films and filmmakers, this section of the module will explore historically significant movements and themes within international cinema from the 1920s to the present day. This term is thematically organized around issues of ideology and realism, and explores the shifting social and political status of cinema during the last century. In the third term you will undertake a practical project, working with a small group to produce a short film.

• Placement Preparation

  Information for this module is currently unavailable.

• The Arts and Culture in Modernity

  LICA100 examines the ideas and events underlying the revolutions in the arts which began about the end of the nineteenth century and continued throughout the twentieth. These are still the focus of frequent debate, and have a powerful influence on the arts today. Seminal works and thinkers in art, design, film and theatre will be examined, with particular emphasis on ideas of cross-over and integration between different art forms. Consideration is given to both 'high art' and the popular. You will acquire an understanding of modernism in the arts, enabling a richer appreciation of recent art works and of the context for contemporary arts practices.

  For LICA students, this course will sit alongside a module in your particular discipline as a general introduction to study of the contemporary arts. It will emphasise the common background for the developments in Art, Design, Film and Theatre through the 20th century which so profoundly affect our culture today, enabling you both to better understand your particular discipline, and to take certain courses in other disciplines within LICA in your second and third years to broaden your studies, if you wish.

Year 2

Core

• Critical Reflections

  This course provides an introduction to critical theory in the arts and its application to aesthetics and art. The first term concentrates on 'structures' in artworks and the second on 'identities'. The structure of the course is six three-week blocks: (1) Form and Structure, (2) Semiotics and Authorship, (3) Phenomenology and Spectatorship, (4) Sex/uality and Gender, (5) Race and Ethnicity, and (6) Class and Society. Weekly plenary lectures make connections across the arts, and weekly two hour seminar/workshops allow students to work in their subject groups (art, film, theatre, design) on ideas and examples specifically tailored towards these disciplines.

• Hollywood and beyond: Global cinema

  This core module has two main objectives. Firstly, it is designed to develop further your analytical skills in order to examine individual films in greater detail. Secondly, it is intended to encourage you to understand world cinema in relation to a variety of social, cultural, political and industrial contexts. The module will explore such issues as the relationship between film form and modes of production (from industrial film-making through to low-budget art film), theories of film style and aesthetics, and the political function of cinema. In the first term, we focus wholly on various modes of American film production, and in the second term we explore some broader theoretical questions through an analysis of films from a number of different national traditions. Across the whole module, you will gain a thorough grasp not only of the historical factors shaping various national and international cinemas, but also of some key critical and theoretical concepts within the field of film studies.

• Intermediate Creative Writing Workshop

  Course Outline:

  Students will develop the key skills introduced at Part I level with an emphasis on writing as process, exploring creative voice, identifying point of view, the implied author and authorial guises and considering the creative and interactive nature of reading. A proactive workshop environment in the first term will enable the development of specific aesthetic and technical skills through lively participation in constructive criticism relating to fellow students’ work-in-progress. Through this process, you will gain a deeper understanding of many important concepts such as structure, linguistic texture and resonance, point-of-view, form, pace, characterisation, the mediation of tone, and reader awareness. While the learning environment will usually be in the form of workshops, certain weeks will be designated for focused and practical set tasks. You will be expected to read widely from modern and contemporary creative works and to explore the work of ‘writers on writing’. The aim of the course is to develop a closely edited creative and peer-critiqued body of work that displays your own form of expression alongside skills and insights developed through the course.

• Work Based Learning Preparation

  Information for this module is currently unavailable.

Optional

• Creative Non-Fiction: Genre and Practice

  Course Outline:This module will explore the writing of creative non-fiction (mainly, though by no means exclusively, in the areas of memoir and biography) through the development, in a workshop environment, of the student’s own work, combined with the directed reading of a selection of contemporary work and secondary texts. Over the course of ten weeks, you are expected to read and discuss each key text, and to submit your own work for workshopping on a regular basis. Students are also expected to familiarise themselves with books listed as ‘supplementary’ and ‘background’ reading: the books are selected to offer different perspectives on the key issues raised. The course should be considered to have a cumulative effect, in that the books discussed early on may be drawn upon in later weeks to illustrate different aspects of writing. During the course you are also expected to keep a journal, in which you reflect upon your writing and reading. This journal will form the basis of the reflective element of your final portfolio, and it will be discussed in an end-of-term personal tutorial with your tutor.

• Documentary Cultures

  Information for this module is currently unavailable.

• Documentary Film Practice

  Documentary Film Practice is a practice-based module in which small groups of students (3-7 students) make a short documentary film (between 5-7 minutes in length). The module builds on knowledge acquired in LICA250: Documentary Cultures.

  By undertaking a practical project in Documentary Film Practice, students are expected to apply theoretical knowledge gained in LICA250 to a practical project. As well as applying theory to practice, the module aims to enhance students’ filmmaking skills, with specific training provided for camera operation, sound recording and editing skills. Students will also gain skills in terms of working in groups.

• European New Wave Cinema

  The module aims to develop an understanding of historically important European films from the 1950s-1980s and the stylistic and historical significance of these films. It will explore the thematic importance of these films and consider the critical debates relating to this period of filmmaking enabling students to develop a critical understanding of the conditions of production, reception and distribution of these films.

• Film and Comic Books

  LICA256 is a specialist module examining a historical genre that now occupies the economic centre of Hollywood film production. The module focuses centrally on film and comic book aesthetics; on questions of narration and visual depiction in these two related media; on the shifting norms of this film genre in relation to technological change across history; and on the significance and uses of the comic-book film in society. As such, the module develops ideas introduced, and skills acquired, in the core Film Studies modules in both Part 1 and Part 2 (LICA 150 [Introduction to Film Studies] and LICA251 [Global Cinema]).

• Introduction to Sound

  Information for this module is currently unavailable.

• Media & Performance

  This module aims to introduce key issues and practical skills in the production of video for media, performance, new media art and documentary film. The module will introduce the historical and practical applications of media technologies in art, theatre and performance by presenting the key practitioners in the areas of installation, multi­media performance, video, and new media art.

  A group practical project will introduce the use of video cameras, filming and editing, project planning, team work and the practical use of installation technologies. The module offers students the opportunity to work in interdisciplinary teams to produce a short film, performance, installation or documentary, including video and other media where appropriate.

• Perception and the Arts

  This module explores the relationships between the arts and how we see and hear. Artists are aware, consciously or unconsciously, of the processes and limitations of perception. They often play with our perceptions in their works to make something which draws our attention, makes us see something in a different way, or gives us a kind of perceptual puzzle or challenge. The module also explores recent scientific research on perceiving art and how that relates to ordinary perception.

  Assessment is by an essay and an exam.

• Poetry: Genre and Practice

  Course Aims and Objectives:

  The emphasis in this module is on reading as well as writing poetry; it will also explore how our own experience translates into poetry and how poetry becomes an experience generated by language, memory, imagination and form. Students will be encouraged to seek out new reading as a result of seminar discussion. The writing of poetry is largely dependent on your abilities as a reader and interpreter of poems and on the textures of lived experience. Technique is vital to composition and it is strongly recommended that students buy or borrows a copy of ‘Rhyme’s Reason’ by John Hollander and ‘The Poet’s Manual and Rhyming Dictionary’ by Frances Stillman. You are expected to keep a journal throughout the course, the contents of which will be used to create the reflective essay for your portfolio.

• Short Fiction: Genre and Practice

  Course Outline:

  The aims of this course are to provide an opportunity for second year students to develop a knowledge of the short story form, and to develop their experience of writing the form. They will gain experience in reading, writing, workshopping and reflecting on short fiction, and will develop a knowledge of the history and development of the form, current theoretical approaches to reading and practice in this form, and an awareness of their own literary context. The course will offer students the opportunity to develop their oral and written communication skills, enhance awareness of their approach to the creative process, and enhance their skills in the critical analysis of texts. This course is then developed by the third year specialization in short fiction.

  This module will explore the writing of short stories in a workshop environment through the development of the student’s own work, combined with the directed reading of selected texts. Over the course of ten weeks, you are expected to read and discuss each key text, and to submit your own work for workshopping on a regular basis. Students are also expected to explore some of the books and essays listed as ‘supplementary’ reading: the books are selected to offer different perspectives on the key issues raised. The course should be considered as having a cumulative effect, in that books discussed early on may be drawn upon in later weeks to illustrate different aspects of writing. During the course, you are also expected to keep a journal, in which you reflect upon your writing and reading. The journal will form the basis of the reflective element of your final portfolio.

• Women Filmmakers: critical visions, critical revisions

  This module will explore the work of some of the most historically important female film-makers from the 1890s through to the present, considering films from around the globe. The module will examine the significant but often marginalized and obscured roles that women have played in industrial, experimental and avant-garde film production across a spectrum of roles from costume and production designers through to screen-writers, editors and directors. You will be invited to reflect upon the fact that, despite playing key roles in the development of the medium, women continue to be excluded at all levels of film production; for example, of 1,591 films released in the US between 2010 and 2015, less than 9% were directed by women, while only 13% were written by women, less than 20% produced by women, and less than 30% had female leads. The decision by Hollywood star and activist Geena Davis to establish a campaigning ‘Institute on Gender in Media’ is a measure of the urgency of this subject.

  The module will engage with revisionist film histories concerned with interrogating the dominant bias of academic and popular histories of the medium; it will also draw on feminist film theory concerned both with a critical understanding of mainstream cinema and the development of politicized women’s cinemas. The module will examine a series of key female directors and their work, and each week will be oriented around the screening of a case study film that will be the focus for the seminar. The directors studied include Alice Guy-Blaché, Dorothy Arzner, Leni Riefenstahl, Ida Lupino, Laura Mulvey, Mira Nair, Kathryn Bigelow, Marziyeh Meshkini, Lynne Ramsay.'

  Assessment is by a combination of coursework essay and exam.

• Writing place and landscape

  Course Outline:

  This module is designed for those students interested in writing imaginatively about places and/or landscapes, providing a grounding for writers of poetry, prose fiction and non-fiction in the broad field of nature, environmental and place writing (which has been undergoing something of a renaissance in recent years). Students will study key texts that engage with different kinds of place and landscape – from fields and forests to rivers and urban edgelands – and explore their own emergent interests in place writing. Students will be encouraged to consider their own work as part of a larger, ongoing literary conversation about place, and to explore those places and landscapes that interest and excite them. The course also contains an element of fieldwork, linking the act of physically walking through a landscape to the practice of reading and writing about it.

Year 3

Core

• Work Based Learning Placement

  Information for this module is currently unavailable.

Year 4

Core

• Dissertation

  This core module is directed towards completion of an independent research project on a topic of the student’s choice, presented in the form of a dissertation. The course is taught through lecture/seminars focused on research skills and one-to-one supervision.

• Work Based Learning Reflection

  Information for this module is currently unavailable.

Optional

• Advanced Creative Writing Workshop

  Course Outline:

  Students will develop the key skills introduced at Part I level and in the first year of Part II with an emphasis on writing as process, exploring creative voice, identifying point of view, the implied author and authorial guises and considering the creative and interactive nature of reading. A proactive workshop environment will enable the development of specific aesthetic and technical skills through lively participation in constructive criticism relating to fellow students’ work-in-progress. Through this process, you will gain a deeper understanding of many important concepts such as structure, linguistic texture and resonance, point-of-view, form, pace, characterisation, the mediation of tone, and reader awareness. While the learning environment will usually be in the form of workshops, certain weeks will be designated for focused and practical set tasks. You will be expected to read widely from modern and contemporary creative works and to explore the work of ‘writers on writing’. The aim of the course is to develop a closely edited creative and peer-critiqued body of work that displays your own form of expression alongside skills and insights developed through the course.

• Advanced Short Story: Form and Practice

  Course Outline:

  This unit will provide an opportunity for students to develop their knowledge and skills of the short story form, history and practice with a more advanced course. Each week you will have the opportunity to discuss, in detail, one or two specimen short stories and workshop their own creative work. Topics covered will include:

  • plot, narrative and 'the twist in the tale';
  • the epiphany and other ways of ending;
  • writing extreme experiences
  • rewriting fairy tales, folk tales and myth
  • flash and sudden fiction;
  • voice and place
  • genre (the ghost story)
  • short stories in the literary world - the web, festivals, journals and competitions.
• Apocalypse Then: New Hollywood Cinema

  Topics studied will normally include:

  Introduction – Hollywood breakdown (Easy Rider, Medium Cool)

  The future of allusion: New Hollywood’s nostalgic mode (The Godfather)

  Popular feminism (Klute, Woman Under the Influence)

  Politics and conspiracy (The Parallax View, All The President’s Men)

  Disaster movies (The Poseidon Adventure)

  Comedy (Annie Hall)

  Exploitation cinema I: blaxploitation (Coffy, Foxy Brown)

  Exploitation cinema II: horror/body genres (The Texas Chainsaw Massacre)

  Blockbuster cinema and the franchise film (Star Wars)

  The end of the New (Apocalypse Now)

• Classic Hollywood: The Studio Era

  This module is designed to provide you with a chance to explore one of America's most significant cultural contributions to the twentieth century - the motion picture. You are introduced to the American cinema through a genre approach to a series of selected films. This entails that you frame the formal and aesthetic aspects of Hollywood filmmaking in an appropriate social, historical, cultural, and industrial context. In considering why certain popular narrative formulas (such as the Western and the Gangster) are so deeply associated with American commercial screen art, lectures and seminars will attend to movie production as a dynamic process of exchange between the film industry and its mass audience.

• Contemporary Hong Kong Cinema

  This module explores Hong Kong cinema from the mid-1980s up to the present – an era whose beginning witnesses the international breakthrough of a new wave of local filmmakers, and which goes on to encompass the early 1990s’ production surge, the 1997 handover to mainland China, the crippling economic crisis, and the outbreak of the SARS virus. The module will provide students with an understanding of a number of basic industrial, aesthetic, social and cultural trends marking Hong Kong films in the contemporary era. These include the emergence and impact of independent production; the rise of ‘high-concept’ filmmaking; the movement toward pan-Asian co-productions; the importance and cross-marketing of star performers and local musical traditions such as Cantopop; the popularity of genres like the swordplay film; and aesthetic tendencies such as episodic plotting and the narrative ‘thematisation’ of politics and identity. Emphasis will be placed not only on representative mainstream product, but also on the emergence of a distinct Hong Kong art cinema, whose presence and success on the international festival circuit has brought artistic credibility to a predominantly popular cinema, and which has heralded the arrival of a fresh wave of local ‘auteur’ filmmakers.

  Method of Assessment

  One essay of 5,000 words (100% of final course mark)

• Creative Non-Fiction II

  Course Outline:

  This module will explore the writing of creative non-fiction through the development, in a workshop environment, of the student’s own work, combined with the directed reading of a selection of contemporary work and secondary texts. This module builds both thematically and technically on CREW 206, which was introductory and primarily concerned with biography and memoir; CREW 305 will concentrate on reviews, essays, and cultural reflection. Over the course of ten weeks, you are expected to read and discuss each key text, and to submit your own work for workshopping on a regular basis. Students are also expected to familiarise themselves with the books listed as ‘supplementary’ reading below and ‘background’ reading (available on Moodle): the books are selected to offer different perspectives on the key issues raised. The course should be considered to have a cumulative effect, in that the books discussed earlier in the term (as well as those discussed in CREW 206) may be drawn upon in later weeks to illustrate different aspects of writing. During the course you are also expected to keep a journal, in which you reflect upon your writing and reading, and which will form the basis of the reflective element of your final portfolio. This journal will be discussed in an end-of-term personal tutorial with your tutor.

• Film Theory

  This third-year core course will add to the theoretical, historical and cultural aspects of film investigated in Years 1 and 2, while focusing more closely on the challenging aesthetic and critical debates surrounding the concept of modernity. It will look at films made in the silent era, in post-war Europe and in Britain and the US. Key writings on film will be considered in conjunction with viewings of particular films, close analysis of specific filmic techniques and methods, and historical and theoretical approaches to film. The course will also pay attention to the debates of classical and contemporary film theory, feminist approaches and other critical traditions (semiotics, structuralism, formalism, cognitivism). Building on the approach to film taken in LICA251 (Film Cultures), this course focuses on film theory as students are introduced to key debates in classical and contemporary film theory, with topics exploring the relations between film and art, cinema and politics, cinema and psychoanalysis, and, above all, the question of how films produce meaning(s).

• Longer Fiction: Skills and Techniques for Approaching a Novel

  Course Outline:

  During this module students will examine, through the set reading and in-class writing prompts and tasks, the unique features of long fiction (novellas and novels). Through seminar discussion of set texts, the workshopping of creative writing in progress and the writing of synopses and other planning documents, students will develop competence in approaching a long fiction project. This includes: strategies for planning and structuring, choosing point of view and tense, developing plot, addressing theme and characterisation, experimenting with form and considering an ending.

• Narrative and New Media

  Course Outline:

  This course will provide the space for you to work on a creative project that utilises opportunities afforded by new media. New media narratives (please see the list of set ‘texts’ for examples) are often interactive, participatory, immersive and cross-platform and you will be encouraged to design and provide writing samples from a project that engages with these features. During the course we will examine a variety of new media narratives, compare them to non-linear ‘old media’ narratives (books!) and you will work towards placing your own creative work in a literary and critical context.

  The topics we will cover will respond to your own project ideas and interests, but may include:

  • Interactivity and immersion,

  • Space, place, mapping and journeying,

  • The problem of character,

  • Who is the author? Collaboration and crowd-sourced fictions.

    Note: while we will talk about the ways these narratives can resemble games, this is not a course where you will be designing a computer game. You do not need to have any special computer skills – only an interest in the opportunities afforded to writers by new media forms.

• Poetry and Experiment

  Course Outline:

  This course aims to challenge the received structures of language in the students' own poetry through a close reading of poets who opened up new frontiers of 20th/21st century literature through their experimental approaches to language. Every seminar will be split in two halves; the first hour will be devoted to a close reading of experimental work by a published poet, from Alice Oswald to Ezra Pound, looking at how they stretch or break the lyric formula; the second hour will a workshop based on critiquing the students' own poetic experiments. In week two, students will receive a basic introduction to Wittgenstein's theory of language games, with each subsequent poet examined in the light of how they try to break the rules of the game. The students' own experiments are encouraged as either continuations of the radical departures first implemented by the poets in question, or the students' own attempts to break from comfortable notions of confessional or lyric poetry.

• Silent Cinema

  This course offers an introduction to the broad area of silent cinema and to a range of critical approaches to this rich area of study. You will have the opportunity to view and analyse a number of important films. We will also explore a number of critical questions raised by this material with regard to the writing and study of histories of cinema (and popular culture in general), the relationships between technology and form, the economics of film production, distribution and reception, the relationship between cinema and national identity, the social and cultural impact of new (entertainment) media, the study of cinema audiences.

• Writing/Reading Poetry

  This module will build on CREW 205 (Writing Poetry), deepening student engagement with both the writing and the reading process. Both closed and open forms will be explored through a wide-ranging selection of poems (all of which will be found in the set text for the course: The Making of a Poem (ed Boland and Strand). There will be particular emphasis on those forms regularly employed in a twentieth century and a contemporary context.

  A portion of each seminar will be spent discussing the set poems for the week. Students will submit their own poems on a fortnightly basis. The dual assessment (a portfolio of students’ own poems plus a close reading of two of the syllabus poems) reflects the course emphasis on the inter-relationship between reading and writing.

Lancaster University offers a range of programmes, some of which follow a structured study programme, and others which offer the chance for you to devise a more flexible programme. We divide academic study into two sections - Part 1 (Year 1) and Part 2 (Year 2, 3 and sometimes 4). For most programmes Part 1 requires you to study 120 credits spread over at least three modules which, depending upon your programme, will be drawn from one, two or three different academic subjects. A higher degree of specialisation then develops in subsequent years. For more information about our teaching methods at Lancaster visit our Teaching and Learning section.

Information contained on the website with respect to modules is correct at the time of publication, but changes may be necessary, for example as a result of student feedback, Professional Statutory and Regulatory Bodies' (PSRB) requirements, staff changes, and new research.

Careers

A Film and Creative Writing degree gives graduates the capability to work independently and collaboratively in a wide range of professions.  Our graduates have gone into production roles at the BBC, ITV and MTV, independent film production and have become published novelists, poets and playwrights, teachers, lecturers and researchers.

You will also be able to develop key transferable skills – such as creative thinking, communication, project design and group management, as well as research, analysis, and critical writing – that will make you extremely attractive to a wide range of employers, including those within the different creative and cultural industries which now forms a large part of the UK’s economy.  Our graduates are well placed to purse postgraduate vocational training in media-related professions, such as broadcast and print journalism, or take their skills into promotional and marketing roles

Many of our film and creative writing graduates progress to postgraduate degrees to become academics, lecturers and teachers or further vocational training in film production, including the prestigious New York Film Academy and London Film School.

Lancaster University is dedicated to ensuring you not only gain a highly reputable degree, but that you also graduate with relevant life and work based skills. We are unique in that every student is eligible to participate in The Lancaster Award which offers you the opportunity to complete key activities such as work experience, employability/career development, campus community and social development. Visit our Employability section for full details.

Fees and Funding

Fees

We set our fees on an annual basis and the 2019/20 entry fees have not yet been set.

Channel Islands and the Isle of Man

Some science and medicine courses have higher fees for students from the Channel Islands and the Isle of Man. You can find more details here: Island Students.

Funding

For full details of the University's financial support packages including eligibility criteria, please visit our fees and funding page

Students also need to consider further costs which may include books, stationery, printing, photocopying, binding and general subsistence on trips and visits. Following graduation it may be necessary to take out subscriptions to professional bodies and to buy business attire for job interviews.