We welcome applications from the United States of America
We've put together information and resources to guide your application journey as a student from the United States of America.
Overview
Top reasons to study with us
2
2nd for Communication & Media Studies
The Complete University Guide (2025)
Access to Digital Media Studio and specialist equipment
Discover more about global media and it's impact on culture
Why Lancaster?
Prepare for media jobs of the future by exploring how the industry is evolving
Gain additional experience and skills by joining a four-year programme and spend twelve months working in the type of organisation that you might aspire to join when you graduate
Benefit from training and development opportunities with your placement organisation, while still receiving both academic and pastoral support from Lancaster University
learn from experts at Lancaster who shape conversation on everything from reality TV show regulations to the Royal Family
Combine expert knowledge with practical skills and experience with this distinctive media and culture course
Shape your study – you’ll have the freedom to examine the areas of media that spark your interest
Get involved with our student media societies to gain experience outside the classroom
Media shapes who we are, what we think and what we value. At Lancaster, we’ve created a course where expertise meets practical skills. New technology and new platforms mean you’ll be preparing for careers in the creative sector and digital journalism that didn’t even exist until recently.
Bring ideas to life
We know it’s important for you to understand the way media is changing, but you also need to be able to apply this knowledge to succeed in this competitive industry. This includes the skills you will learn during your placement year, in which you will work in an organisation potentially related to your interests. And during your studies, you will influence what you create, whether that’s short films, digital content and podcasts, or any media relevant to today’s world.
We’ll look at how media is produced and consumed to help you become a better creator, as well as studying the social, economic and political dimensions of this industry on a global scale. You’ll look at practices and platforms in the ever-changing media landscape to make you aware of the challenges facing professionals.
Your platform, your voice
Our research influences real world conversations. You’ll be learning from experts who testify for parliamentary enquiries, run their own podcast series, or raise awareness of issues like gender inequality through their work.
When it comes to doing your dissertation, you’ll follow in their footsteps. You can complete your dissertation either via writing about research you have carried out or via media practice. Either way, we’ll expect you to thoroughly research your topic and the intended audience. We’ll encourage you to let your imagination run wild! Past students have created music albums, board games and even a multimedia cookbook.
Sometimes known as a year in industry, your placement year will take place between your second and final year of study and this will extend your degree to four years.
Placements and Internships
Hear from students and employers on how Lancaster University could support you to gain real-world experience and bolster your CV with a placement or internship as part of your degree.
A placement year is an excellent way to...
try out a role that you may be interested in as a career path
start to build your professional network (some placement students are offered permanent roles to return to after they graduate)
develop skills, knowledge and experience to put you ahead of the field when you graduate
You'll spend your third year...
in a graduate-level position, where you’ll work for between nine and twelve months in the type of role that you might be considering for after you graduate. A very wide range of companies and organisations offer placements across all sectors.
As a full-time employee, you’ll have a job description with specific responsibilities and opportunities to access training and development, the same as other employees.
Our Careers and Placements Team...
will help you to search and compete for a suitable placement with expert advice and resources, such as creating an effective CV, and tips for applications and interviews.
You will still be a Lancaster University student during your placement and we’ll keep in touch to check how you are getting on.
The university will...
use all reasonable effort to support you to find a suitable placement for your studies. While a placement role may not be available in a field or organisation that is directly related to your academic studies or career aspirations, all offer valuable experience of working at a graduate level and gaining a range of professional skills.
If you are unsuccessful in securing a suitable placement for your third year, you will be able to transfer to the equivalent non-placement degree scheme and continue with your studies at Lancaster, finishing your degree after your third year.
Media and Cultural Studies at Lancaster University
Discover what our students like best about Media and Cultural Studies at Lancaster University – from the wide choice of modules, to the expertise of teaching staff and opportunities to gain practical skills and experience.
Careers
Roles like digital content creator didn’t even exist a couple of decades ago, and platforms like Patreon have changed the way we consume media. What comes next is unknown, but you’ll have the skills you need to adapt to whatever challenges you face.
Your analysis, research, presentation and writing skills will be valuable to employers across a range of areas. If you want to be your own boss, you’ll have the foundation of knowledge you need to create your own media company.
Our graduates find rewarding roles in:
Digital journalism
Social media
Creative sectors
Publishing
Advertising and marketing
This course also provides a strong basis for diverse types of postgraduate study, including areas like television production or teaching.
Lancaster University is dedicated to ensuring that you gain a highly reputable degree. We are also dedicated to ensuring that you 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 activities such as work experience, employability/career development, campus community and social development.
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
BTEC Distinction, Distinction, Merit
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.
Delivered in partnership with INTO Lancaster University, our one-year tailored foundation pathways are designed to improve your subject knowledge and English language skills to the level required by a range of Lancaster University degrees. Visit the INTO Lancaster University website for more details and a list of eligible degrees you can progress onto.
Contextual admissions
Contextual admissions could help you gain a place at university if you have faced additional challenges during your education which might have impacted your results. Visit our contextual admissions page to find out about how this works and whether you could be eligible.
Course structure
Lancaster University offers a range of programmes, some of which follow a structured study programme, and some which offer the chance for you to devise a more flexible programme to complement your main specialism.
Information contained on the website with respect to modules is correct at the time of publication, and the University will make every reasonable effort to offer modules as advertised. In some cases changes may be necessary and may result in some combinations being unavailable, for example as a result of student feedback, timetabling, Professional Statutory and Regulatory Bodies' (PSRB) requirements, staff changes and new research. Not all optional modules are available every year.
From mass media to social media, from debates on authenticity and representation in reality-tv to struggles between users and the creative industries on platforms such as Facebook, YouTube, and Instagram.
This full-year module enables you to critically examine and analyse a range of media and cultural practices, texts, and technologies in a wide variety of contexts. It introduces you to a number of key concepts and theories that deal with media and culture, and it enables you to become a creative, critical, and confident consumer and producer of media in an ever-changing cultural and technological landscape.
This module is divided into a number of blocks, focusing on a variety of important topics such as: Media and Representation, Media and Practice, Media and Participation, Media and Technology, and Media and Reality. These topics will be discussed and explored with help of a range of contemporary examples, cases, and debates in television, digital games, film, advertisement, popular music, and social media.
One advantage of this full-year course is that it is carefully designed to help you develop skills at presenting your analysis and ideas in different ways, including in group discussions, essays and exam answers. By the end of the module you will be able to interpret and analyse different contemporary media and cultural phenomena with confidence, and be able to support your views and opinions with plenty of academic sources.
Optional
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This module challenges you to think about why some private troubles become public concerns or social problems while others do not. It considers how certain issues are constructed as ‘problems’ and the factors that contribute to this. It helps you to understand more about both why we study social problems and the various ways in which we can do so.
Throughout the module we explore broad historical and contemporary responses to social problems. In particular, we will seek to understand how contemporary social problems reflect and reproduce economic and social inequalities and how those inequalities are constructed through different welfare ideologies and approaches.
This full-year module is organised into different ‘blocks’ underpinned by key themes, such as: need, community, citizenship, rights, and equality and social justice. We look, for example, at research and conceptual ideas that can help us understand poverty in contemporary society: we explore different ways of defining and measuring poverty, explanations of why people are poor, how the state attempts to tackle poverty and how it impacts upon the lives of individuals.
This module considers the forms of organisation in which gender is produced and reproduced, the structures of power that have developed as a result, and ways in which communities and movements have resisted marginalisation. We will look at the connections between the ways gender manifests in society and culture and the ways in which gender is studies (and not studied) in academic fields. We will also make connections between academic work, feminist movements and diversity activism more generally.
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 be given the opportunity to become familiar with the key formal and semantic conventions of cinema. The second term aims 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 1960s 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.
What does it mean to ‘think sociologically’? When there are so many academic disciplines and non-academic areas of professional expertise, what is unique and important about starting with the social? This module begins with fundamental questions about the value of sociology in understanding the contemporary world and goes on to explore how the significance of our questions and everyday experiences are transformed when investigating all kinds of contemporary social problems, from inequality to globalisation, sociologically.
This full-year module is organised into different ‘blocks’ that connect themes in sociology – such as the relationship between self and society or between self and power – to both long-standing and newly emerging research. Whether or not you have studied sociology before, this module will introduce you to new areas of sociology, as well as demonstrating how key themes such as consumption, identity, social justice, or culture and media intersect with different sociological questions and sites of enquiry. Lecturers draw upon the ongoing research undertaken at Lancaster, giving you access to current insights that are inspiring change in policy and professional organisations.
The benefit of having multiple topics and themes addressed within one year-long module is that the assessments are carefully designed to slowly build up your research and study skills over your first year of study, whilst still giving you the flexibility to write major essays on the topics that are most interesting to you. The module provides you with a fantastic opportunity to explore new ideas and find new inspiration for understanding how we lead our lives today, and what possibilities there are for change tomorrow.
Core
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This course focusses on the relationship between media, representation and power. We engage closely with the most influential cultural theories of modern times, putting them to work to understand how power operates through forms of mediation in late capitalist societies. We address these issues through analysis of a contemporary cultural phenomena ranging from the food poverty to the spectacular brand management of the British royal family, from Pride parades to our culture’s obsession with weight. We focus on a range of media including advertising, film, photography, multimedia art, theme parks, news media, social media and the internet.
Example topics covered include:
Photography, beauty and ‘truth’
Nationalism and spectacle
Bodies and representation
Capitalism, consumer culture and the branded self
Art and the politics of representation
Postmodern culture, simulation and war
Queer theory and queer cultures
Marxist theory, media and work
Since real life problems are often complex, multiple types of data can be useful in understanding them. You will be given the opportunity to develop practical skills while undertaking pilot research on a real world problem.
This module aims to prepare you for an Independent Dissertation project in your final year. It is designed around active learning - helping you to develop skills to do your own research. Lectures address cross-cutting methodological debates as well as established methods (such as interviewing, discourse analysis, ethnography and quantitative surveys).
Most of your time, however, is spent in seminars where you will try out methods such as interviewing, analysing media texts, and doing observation on campus. There are ample opportunities for feedback as you develop ideas for your project-based final assessment, and build diverse skills to support your final year dissertation.
Optional
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This module explores the question of how information and communications technologies, in their multiple forms, figure in our everyday lives. The aim of the module is to develop an appreciation for the range of experiences affected by digital media, including the progressive expansion of life online, and the increasingly intimate relations between life online and off. We’ll explore global divisions of digital labour; hactivism. The module will consider the new possibilities that the changing social infrastructure of digital technologies afford, while also learning to look at the rhetorics and practices of the virtual with a questioning and critical eye. Throughout the course we’ll be attentive to issues of gender, race and other marks of sameness and difference as they operate among humans, and between humans and machines.
Documentary Film Practice is a practice-based module. You’ll work in small groups to make a short documentary film. In order to take this module you must have taken Documentary Cultures in your first year. The module builds on knowledge acquired.
By undertaking a practical project in Documentary Film Practice, students are expected to apply theoretical knowledge gained in the Documentary Cultures module to a practical project. As well as applying theory to practice, the module aims to enhance your filmmaking skills, with training provided for camera operation, sound recording and editing skills. You will also have the opportunity to develop skills in group work.
This module explores different approaches to both the analysis and the production of documentary film. As well as considering a range of styles of documentary film, typically including expository, poetic, observational, reflexive, political, and personal modes of documentary film, you will also examine key debates concerning the ethics of documentary filmmaking. An indicative list of film screenings includes Nanook of the North, Grey Gardens, Dont Look Back [sic], The Arbor, Sans Soleil, Fahrenheit 9/11, The Gleaners and I, and The Act of Killing.
The module aims to develop an understanding of historically important European films from the 1950s to the 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.
This module examines 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. The module develops ideas and skills introduced in the core Film Studies modules taken as part of the film studies and combined degrees.
The media are hugely influential in shaping, reflecting and challenging gendered power relations. Feminist theorists have been attentive to the ways in which our lives are mediated, suggesting that we construct and perform our identities in relation to media representations of gender, sexuality and the body.
This module focusses on these issues, exploring some of the key cultural, social and political questions surrounding gender, sexuality and the media. The module draws on key concepts to explore how gender works across a wide range of media platforms. Specific media studied include film, advertising, fashion media and celebrity culture, politics, television genres such as reality television and soap opera, and gaming and digital media.
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.
The module consists of two interwoven strands, one strand focusing on various modes of American film production, the other exploring 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.
Family and intimate relationships form a crucial part of everyday social life. We are born into family and intimate relationships. We establish, maintain and dissolve family and intimate bonds over the life course. We navigate our changing relationship with parents, siblings, and relatives. We establish, maintain and re-establish intimate ties with partners and perhaps children.
But what are ‘families’? What makes intimate relationships ‘intimate’? How do people date, marry, separate, divorce, and re-partner? How do people ‘do’ families and intimacy in the everyday vicissitudes of match-making, romance, conflicts, care, money, domestic labour, and power? Why do people practise families and intimacy as they do? How do broader social, economic, political and cultural institutions configure our ‘private’ lives? How do the ways in which we relate to family members and intimate others shape the societies in which we live?
In an increasingly interconnected world, family and intimate relationships — personal and private as they are — are increasingly shaped by social forces operating on a global scale. The changing forms and practices of families and intimacy also help shape social trends as grandeur as globalisation.
In this module, we explore theoretical and empirical issues pertaining to the resilience and transformation of family and intimate relationships in a global context.
Everyday life is often described as bombarding us with images, and contemporary culture is therefore frequently understood as a visual culture.
What do such statements actually mean?
How far is our culture a visual culture?
What role do media play in a visual culture?
How is vision linked to practices – including representation, the gaze and embodiment – of power and inequality?
In what ways might these practices be challenged or resisted? Does vision only involve seeing, or is visual culture multi-sensory?
This module will introduce theories and practices that have addressed these questions. Examples of topics studied include:
The relationship between vision and knowledge
The gaze and power (eg the gaze as gendered and raced)
Media, representation and identity
Technologies of vision
Material practices of vision
Vision as multi-sensory.
On this module you will have the opportunity to gain a critical understanding of recent and ongoing themes in Media and Cultural Studies and Sociology on the topic of vision and visuality, media and culture, develop different reading and writing skills and participate in lively discussions and analytical exercises.
This module focuses on racism and racial formations in the world today in both historical and contemporary perspectives. We will consider how ideas of race are historically constructed and look at how racism takes on different forms. Topics may include: the slave trade, colonialism and imperialism; ‘everyday racism’; structural racism; the social construction of ‘whiteness’; anti-racists politics and movements. The aim of the course is for you to gain an overview of various sociological approaches to explaining ‘race’, but also to gain an understanding of how such theories make a difference in the world today.
In the Short Film Production module you will develop, produce and complete a short dramatic film. You will be taught and given the opportunity to follow industry standard practices throughout your project. You’ll participate in at least two class productions as both a key role member (roles like Writer/Director, Producer, Cinematographer, Art Director, and Sound Designer/Editor) and a minor role member (roles like Assistant Director, Script Supervisor, Assistant Camera, Gaffer, Grip, Sound Recordist, Boom Operator, and etc.). You’ll keep a production diary outlining your individual contributions, and be given the opportunity to gain real world experience of what working on a film production is like in the various roles. You’ll write up your experiences in an essay critically analysing the production process and outcomes.
You will need to have completed Introduction to Film Studies to take this module.
Television remains one of the most pervasive and prevalent communication mediums. It shapes how we perceive and make sense of the nation, and offers representational frameworks through which a sense of identity and community can be constructed. Television has its critics - who consider it vulgar, mundane, stupefying, 'chewing gum for the eyes' - yet despite consistent predictions of its decline, television appears to have weathered the storm of fragmentation and digitalisation and remains a crucial media site that shapes national values and debate. This module introduces students to the field of television studies, its empirical and theoretical tools and the critical perspectives that help us explore and evaluate the recent history of television and explore its possible futures.
Media is increasingly experienced transculturally. Those with good internet connections can access media from all over the globe. Our media is also increasingly produced transculturally, with influences from global cultures. In this module, we consider the opportunities and challenges of studying media in a transnational context. Designed specifically for international students, we reflect on how you navigate your experiences of studying media in different countries, intellectual environments, and academic systems. The module will provide opportunities for you to draw on the strength of your own transcultural backgrounds, your international and cross-cultural media experiences and understandings to decolonise media studies.
This module is only available to international students from designated partner universities and programmes who have not taken Part 1 in Lancaster.
Core
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You will spend this year working in a graduate-level placement role. This is an opportunity to gain experience in an industry or sector that you might be considering working in once you graduate.
Our Careers and Placements Team will support you during your placement with online contact and learning resources.
You will undertake a work-based learning module during your placement year which will enable you to reflect on the value of the placement experience and to consider what impact it has on your future career plans.
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What does it mean to be global? How can we navigate global structures of power and meaning in and with media?
You will explore media products from different regions to prepare you for researching and working in a global media landscape. This includes exploring how issues of identity, 'race' and postcoloniality come into play in debates about globalisation.
This module comprises a written dissertation (8,000 words) or a media project (4,000 words + practical project) that students will complete in their final year. It offers students the opportunity to undertake an independent piece of research (under supervision) and to apply their understanding of key concepts, theories and debates in media and culture to their own individual dissertation or project.
Students will plan, present and design a proposal in tutorial groups, with a detailed, step-by-step web-based guide available for extra support. They will develop an idea for a research project, work out what is possible, which methods to use, and begin to plan it. They will then communicate their dissertation proposal to other students and then write it up in a way that clearly states their research topic, aims and methods, and where it situates within wider sociological debates.
Students will carry out data collection and analysis, and write it up as a dissertation. They will meet regularly with their supervisors to discuss their progress. Media projects may include creative/journalistic writing, audio production, video materials, artefacts, photographs or online campaigns, materials and environments.
Optional
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This module explores the history and theory of African American cinema, primarily since the 1960s, focussing on the complicated relationship between this filmmaking tradition and mainstream (Hollywood) projections of blackness. Chronologically organized, it starts with the work of Oscar Micheaux and the “race” films of the 1920s and 1930s, ending with films made in the context of the Black Lives Matter movement, such as Dee Rees’s Pariah and Mudbound,Tyler Perry’s Madea franchise, Ava DuVernay’s Selma and 13th, Boots Riley’s Sorry to Bother You, and Ryan Cooglar’s Fruitvale Station and Black Panther.
On the way to the 21st century, you will examine the cross-over stardom of Sidney Poitier (In the Heat of the Night, Guess Who’s Coming to Dinner) in the context of the civil rights movement in the 1950s and 1960s, the rise of blaxploitation cinema (Sweet Sweetback’s Baadasssss Song, Shaft, Superfly, Coffy and The Spook Who Sat by the Door) in the context of Black Power in the late 1960s and the political disillusionment of the 1970s. Blaxploitation’s commercial breakthrough is compared to films by members of the “Los Angeles Rebellion”, such as Julie Dash (Daughters of the Dust), Charles Burnett (Killer of Sheep) and Haile Gerima (Bush Mama), who strived for an alternative independent black film aesthetic.
These contrasting legacies are connected to the rise of hip hop cinema in the 1980s and 1990s, in the work of Spike Lee (Do the Right Thing), John Singleton (Boyz N the Hood) and the Hughes Brothers (Menace II Society).
What counts as a disaster?
Is it still reasonable to speak of ‘natural’ or human-made’ disasters?
Do disasters have a beginning, middle and end?
Is it possible to make disaster-proof systems?
This module uses case studies of disasters (technical and social) to explore these questions and what sociology can teach us about them.
The Experimental Cinema module introduces you to the non-mainstream, avant-garde, modes of production and the key movements and practices since the 1920s. You will be given the opportunity to study the theoretical concepts of historical and contemporary avant-garde movements and practices and witness the different ways artists and filmmakers have challenged the mainstream narrative and stylistic conventions. Throughout this module you will look at important figures in the development of experimental film aesthetics such as Man Ray, Maya Deren, Stan Brakhage, Michael Snow, Chantal Akerman as well as some lesser known, emerging contemporary experimental filmmakers.
The first half of the module provides a conceptual and historical overview of avant-garde filmmaking and the second half will focus on contemporary debates and the institutional shift in experimental film production with the rise of digital technology. As well as having the opportunity to develop an understanding of experimental cinema through reading and writing research papers, you will have a chance to engage with the formal and technical aspects of making an experimental film through practice-based assignments.
You will need to have completed Short Film Production or Documentary Film Practice in order to take this module.
How do we make sense of the various understanding of being a fan nowadays? How has the experience of being part of a media audience transformed over the decades in different parts of the world? In what ways do fan culture and audience community manifest social transformations in both the local and global scale?
This module aims to provide you with a critical understanding of fandom and audiences in a global and transnational context. You will first be introduced to the contested concepts and typologies of ‘audience’ and ‘fan’ and the cultural hierarchy of knowledge underneath theses definitions. The module will focus on four dimensions – participation, pleasure, performance, and power – by investigating fan culture and audience communities of a wide range of transmedia texts (television, music, film, and other media) in a global perspective. You will analyse the multi-layered dynamics between individual fan, fan community, audience participation, media texts, and the industry through sociological and interdisciplinary lenses, for example, cultural studies, feminist studies, queer studies, and postcolonial studies.
This module investigates gender inequalities within society through a focus on historical and contemporary debates in feminist theory and activism. The module has an `intersectional` focus that means we will consider gender inequalities as bound up with other forms of discrimination and marginalisation, particularly racial and ethnic inequalities, disability and social class.
The module will challenge you to think about `what feminism means today` through a consideration of key aspects of feminist thought and activism from the late 1960s onwards. We will consider the continued relevance of the idea of ‘The Personal is Political’ and ‘consciousness raising’. We will overview feminist approaches to social research and explore feminist interventions in practices of gender inequality, for example inequalities in paid and unpaid work, childcare and women’s health. You will complete an intergenerational interview research project on ‘women, work and social change’ through which you will analyse and reflect upon your experience of the research process.
We will also take the feminist manifesto as a central document which expresses lived experiences of gender inequalities and collective desire for social change. Through some practices of inequalities, such as art, beauty contests, capitalism and patriarchy, we will explore the contemporary resonance of ideas such as black feminisms, art activism, the occupy movement and backlash.
By the end of the module you will have been given the opportunity to become familiar with some of the key debates within feminism today. We aim for you to be able to make connections between feminist theory and forms of feminist practice. The module engages you in debate, original research and feminist activism through analysis of varied media including academic texts, advertising, art, film, news media and social media.
This third-year 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. 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). Students will be 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).
Does food work as a cultural medium, through which we communicate and exchange meaning? What is considered edible in different contexts and at different points in history? What is ‘food poverty’ and how has it been constructed and represented in public and political debate? Why does the idea of the ‘family meal’ have cultural and moral significance? How is fast-food transforming cuisine and culture and our wider social world?
Food is so much more than ‘just’ fuel for the body - it is deeply symbolic, shaped by historical, social and cultural forces, our access to it marked economics and geography, and the ways that we shop for, prepare and eat stamped with our biography, ethnicity, social class and region. Curiosity about food cultures and the social meanings and significance of food have been foundational to cultural studies, sociology, anthropology and across the arts and social sciences. The recent explosion of food media demonstrates how food and eating works as a central medium through which we construct and communicate identity and create connections with others.
In particular the moral significance of food has sharpened in a climate of inequality where some experience food poverty and some pursue gastronomic pleasures as a marker of social mobility, consumer competence and (of course) good taste. We might argue, along with many scholars and researchers working in ‘critical food studies’, that how we prepare and eat food works to both summon memories and fasten us to heritage. We might also consider how food works to organise (in)justice and (in)equality, and the range of activist interventions and projects which seek to re-imagine more equitable and sustainable food systems.
Topics we will explore in this module might include:
Good to eat/good to think with
Foodie Culture
Food Studio
Industrial Food Complex
Food (in)Equalities and Food (in)Justice
Time and Technoscience
Eating Well and Future Food
Fieldtrips may be part of the module, depending on availability of sites and partner guides - these will be guided visits to ‘food sites’ which will illuminate some of the topics we explore in the classroom
Belonging to a nation is widely seen to be as natural as belonging to a family or a home. This module will explore how such assumptions about national belonging come about by introducing students to a range of theoretical approaches and debates.
You will explore how notions of belonging are socially constructed, how the nation is defined, who belongs and who doesn’t. The module addresses these notions by examining what everyday practices, discourses and representations reveal about the ways people think about, and inhabit, the nation. The module also pays particular attention to nation formation in relation to debates about multiculturalism, diversity and migration and asks: What are the impacts of migration and multiculturalism on definitions of the nation? How is multiculturalism defined and perceived?
Although focus will be on the example of Britain, the issues raised will be of interest to all students concerned with the effects of nationalisms and ideas of belonging and entitlement, which many countries of the contemporary world are presently debating in the context of the 'Age of migration' (Castles and Miller 1998).
This module examines important shifts in the way we consume, co-create and interpret media. Canonical queer scholarship foregrounded questions of marginalisation, focussing on the way queer subjects are made invisible in media, but also on the rich creative possibilities of marginal and subcultural spaces. As media have radically changed, so has the depiction of queer lives. The popularity of shows like RuPaul's Drag Race, queer romcoms on streaming TV, and out queer global stars like Lil' Nas X and Rina Sawayama have been hailed as heralding a new progressive era of queer representation.
As some queer subjects have become more visible, however, important questions have arisen about the power and inequality in queer media studies. These range from concerns about the negative impact of visibility through culture wars and the toxicity of celebrity culture and social media, to questions about who is included in this framing of media as progressive. To examine these issues, we draw on intersectional queer theory that engages with postcolonial and critical race theories, crip theory, feminism and trans and non-binary gender studies.
Themes include (but are not limited to):
Drag queens and kings
Queer film - from New Queer Cinema to the present
Queer scripted television
Queer celebrity, body politics and intersectionality
Queer comics and zines
Documentary and reality television
Music videos, music cultures and subcultures
Camp, fashion and dress
Queer performance cultures, live performance and virality
This module will provide a critical survey of the literature on the far right and its main theories and debates, as well as discussing how major sociological theories and concepts can apply to the topic such as; an overview of movement types and sub-types; an overview of the main concepts (far-right, fascism, populism, racism, white supremacy); and a historical and comparative analysis of the far right in different contexts in Europe, North America and the Global South.
Specific topics and issues which the module will cover include: far right electoral parties and policy; the concept of the lone actor digital/online far right activism and radicalisation; the relationship between the far right and the mainstream; populism and the white working class left behind media representation and platforming; far-right street protest; far right subcultures and ecosystems; the role of historical racism and fascism on our understanding of the far right; the relationship between systemic racism and right-wing extremism; terrorism and racist violence; and counter-extremism, counter-terrorism and criminal justice approaches to dealing with the far right. The module will also examine anti-racist, anti-fascist, decolonial and intersectional approaches to understanding and opposing the far right, and how they differ from and challenge conventional state security and prevention approaches.
This module 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). We will examine 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 and the study of cinema audiences.
This module will explore how the politically powerful and the politically radical use the internet to consolidate and revolutionise the distribution of power around the globe.
Like many communication platforms before it, the internet is mobilised by the politically and economically powerful as well as those seeking radical change. However, unlike other platforms, it has created an almost universally accessible platform for public dialogue. Pro-democracy revolutionaries, freedom hackers, feminist mediasmiths, anti-capitalists, data leakers, and others use the internet to organise their social movements. Conversely, those opposed to the liberal project, such as authoritarians and extremist groups, also use the affordances of the internet to distribute their message and rally their supporters.
This module examines these issues and investigates the implications of “big data” control by governments and corporations. The module looks also at the understanding social networkers and other content uploaders have of this “big data” control along with the consequences that it comes with.
This module addresses contemporary debates in sociology and cinema by focusing on a single film each week. Its overall aim is to employ cinema for the purpose of social diagnosis.
The module engages with cinema as a social fact, before linking together cinema (producing images of the social) and sociality (socialisation of the image) for analysis.
This module analyses the relationship between society and terror, taking point of departure in the discussion of 9/11 and the political responses it has provoked. The module focuses on how different forms of terror are related to the changing nature of society and how terror can be theorized from a sociological point of view. It also explores how the study of terror can contribute to the discipline of sociology. An example of concepts covered are: terror, the war against terrorism, dispositif, nihilism, flow, consumerism, post-politics, politics of security.
Fees and funding
Our annual tuition fee is set for a 12-month session, starting in the October of your year of study.
There may be extra costs related to your course for items such as books, stationery, printing, photocopying, binding and general subsistence on trips and visits. Following graduation, you may need to pay a subscription to a professional body for some chosen careers.
Specific additional costs for studying at Lancaster are listed below.
College fees
Lancaster is proud to be one of only a handful of UK universities to have a collegiate system. Every student belongs to a college, and all students pay a small college membership fee which supports the running of college events and activities. Students on some distance-learning courses are not liable to pay a college fee.
For students starting in 2025, the fee is £40 for undergraduates and research students and £15 for students on one-year courses.
Computer equipment and internet access
To support your studies, you will also require access to a computer, along with reliable internet access. You will be able to access a range of software and services from a Windows, Mac, Chromebook or Linux device. For certain degree programmes, you may need a specific device, or we may provide you with a laptop and appropriate software - details of which will be available on relevant programme pages. A dedicated IT support helpdesk is available in the event of any problems.
The University provides limited financial support to assist students who do not have the required IT equipment or broadband support in place.
Study abroad courses
In addition to travel and accommodation costs, while you are studying abroad, you will need to have a passport and, depending on the country, there may be other costs such as travel documents (e.g. VISA or work permit) and any tests and vaccines that are required at the time of travel. Some countries may require proof of funds.
Placement and industry year courses
In addition to possible commuting costs during your placement, you may need to buy clothing that is suitable for your workplace and you may have accommodation costs. Depending on the employer and your job, you may have other costs such as copies of personal documents required by your employer for example.
The fee that you pay will depend on whether you are considered to be a home or international student. Read more about how we assign your fee status.
Home fees are subject to annual review, and may be liable to rise each year in line with UK government policy. International fees (including EU) are reviewed annually and are not fixed for the duration of your studies. Read more about fees in subsequent years.
We will charge tuition fees to Home undergraduate students on full-year study abroad/work placements in line with the maximum amounts permitted by the Department for Education. The current maximum levels are:
Students studying abroad for a year: 15% of the standard tuition fee
Students taking a work placement for a year: 20% of the standard tuition fee
International students on full-year study abroad/work placements will be charged the same percentages as the standard International fee.
Please note that the maximum levels chargeable in future years may be subject to changes in Government policy.
Scholarships and bursaries
You will be automatically considered for our main scholarships and bursaries when you apply, so there's nothing extra that you need to do.
You may be eligible for the following funding opportunities, depending on your fee status:
Unfortunately no scholarships and bursaries match your selection, but there are more listed on scholarships and bursaries page.
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We also have other, more specialised scholarships and bursaries - such as those for students from specific countries.
The pace of change in media industries and jobs means that preparing for your career is about being able to provide insights and unique combinations of experience that set you apart.
The information on this site relates primarily to 2025/2026 entry to the University and every effort has been taken to ensure the information is correct at the time of publication.
The University will use all reasonable effort to deliver the courses as described, but the University reserves the right to make changes to advertised courses. In exceptional circumstances that are beyond the University’s reasonable control (Force Majeure Events), we may need to amend the programmes and provision advertised. In this event, the University will take reasonable steps to minimise the disruption to your studies. If a course is withdrawn or if there are any fundamental changes to your course, we will give you reasonable notice and you will be entitled to request that you are considered for an alternative course or withdraw your application. You are advised to revisit our website for up-to-date course information before you submit your application.
More information on limits to the University’s liability can be found in our legal information.
Our Students’ Charter
We believe in the importance of a strong and productive partnership between our students and staff. In order to ensure your time at Lancaster is a positive experience we have worked with the Students’ Union to articulate this relationship and the standards to which the University and its students aspire. View our Charter and other policies.
Our historic city is student-friendly and home to a diverse and welcoming community. Beyond the city you'll find a stunning coastline and the picturesque Lake District.