Course Information

BA (Hons)

BA (Hons)

Select year of entry:
3 years 6 years Lincoln School of Film and Media Lincoln Campus [L] Validated BBB (or equivalent qualifications) P300 3 years 6 years Lincoln School of Film and Media Lincoln Campus [L] Validated BBC (112 UCAS Tariff points) (or equivalent qualifications) P300

Introduction

The BA (Hons) Media Studies degree offers students the opportunity to examine the transformative role of 21st century media, and to develop advanced critical and creative skills.

Media Studies is a young discipline, very open to speculation, experimentation and creativity. These values are important in our increasingly mediatized lives. 21st century media are inseparable from all of the major contexts and concerns of our time. They are globally entangled in complex ways with economic, social, cultural, psychological, technical and environmental realms.

It is essential for us to build on past achievements in our field of study but also to be able to think critically in new ways about the changing world and our part in it. Students studying media at Lincoln can become attuned to these shifts occurring in the present.

The Lincoln School of Film and Media offers a creative community of experienced staff, ambitious students and inspiring visiting speakers.

We promote a collaborative, research-engaged ethos, reflecting a diversity of interests. Lincoln is distinctive in its commitment to a spirit of collective enquiry, inspired by the University’s ‘Student as Producer’ initiative. Through our teaching and research we aim to produce an intellectual commons and to participate in the transformation of the social world.

How You Study

The course blends the study of media theory with practical application, and places an emphasis on critical thinking and creativity. Teaching is informed by the expertise of the staff, particularity in 21st Century research.

In the first year, modules introduce both seminal perspectives and new directions in media studies. Students will also have the opportunity to develop key creative communication skills in contemporary media practice modules.

In the second year, modules will focus more closely on themes of visuality and aesthetics, digital and auditory cultures, and the logics and practices of gaming. There will be further options to explore topics such as horror in popular culture, practices of listening, and modernism and experimental forms. Students will be expected to develop their creative practice portfolios, providing a chance to attune them to the contexts and concerns of digitality.

In the third year, students will have the opportunity to embark on a major independent research project and creative portfolio, as well as engage in advanced studies of the political and philosophical contexts of contemporary media. Students can also choose from a variety of optional modules, dealing with topics such as media and the environment, and gender and 21st Century media.

At the end of this final year, all students across The Lincoln School of Film and Media celebrate with a major degree show of their work.

Students will have the opportunity to learn and develop through lectures, workshops, seminars, group projects, screenings, research and an independent study.

Contact Hours and Independent Study

Contact hours may vary for each year of a degree. When engaging in a full-time degree students should, at the very least, expect to undertake a minimum of 37 hours of study each week during term time (including independent study) in addition to potentially undertaking assignments outside of term time. The composition and delivery for the course breaks down differently for each module and may include lectures, seminars, workshops, independent study, practicals, work placements, research and one-to-one learning.

University-level study involves a significant proportion of independent study, exploring the material covered in lectures and seminars. As a general guide, for every hour in class students are expected to spend two - three hours in independent study.

Please see the Unistats data, using the link at the bottom of this page, for specific information relating to this course in terms of course composition and delivery, contact hours and student satisfaction.

How You Are Assessed

Students on this course are assessed through essays, reports, creative production, presentations, critical evaluations, blogs.

Assessment Feedback

The University of Lincoln's policy on assessment feedback aims to ensure that academics will return in-course assessments to students promptly – usually within 15 working days after the submission date (unless stated differently above)..

Methods of Assessment

The way students will be assessed on this course will vary for each module. It could include coursework, such as a dissertation or essay, written and practical exams, portfolio development, group work or presentations to name some examples.

For a breakdown of assessment methods used on this course and student satisfaction, please visit the Unistats website, using the link at the bottom of this page.

Throughout this degree, students may receive tuition from professors, senior lecturers, lecturers, researchers, practitioners, visiting experts or technicians, and they may be supported in their learning by other students.

Interviews & Applicant Days

We do not interview applicants but we host applicant visit/taster days so that you can meet other applicants, try out the facilities, and obtain further information and details about the course.

What We Look For In Your Application

We do not specify A level subjects but seek evidence of media-related critical awareness and/or creativity such as qualifications in Media, English, Sociology, Philosophy, Politics, Film Studies, Art, Design, or Theatre Studies.

We particularly value personal statements that demonstrate relevant experience, a broad range of interests and a real passion for thinking critically about media in the 21st century.

Staff

Throughout this degree, students may receive tuition from professors, senior lecturers, lecturers, researchers, practitioners, visiting experts or technicians, and they may be supported in their learning by other students.

For a comprehensive list of teaching staff, please see our Lincoln School of Film and Media Staff Pages.

Entry Requirements 2017-18

GCE Advanced Levels: BBB

International Baccalaureate: 30 points overall.

BTEC Extended Diploma: Distinction, Distinction, Merit

Access to Higher Education Diploma: A minimum of 45 level 3 credits at merit or above will be required.

Applicants should also have at least three GCSEs at grade C or above, including English Language, or the equivalent.

Mature students with extensive work experience and a portfolio of work, will be selected on individual merit. All relevant work experience should be noted on the application form.

If you would like further information about entry requirements, or would like to discuss whether the qualifications you are currently studying are acceptable, please contact the Admissions team on 01522 886097, or email admissions@lincoln.ac.uk.

Level 1

Contemporary Media Practice: 1 (Core)

This module will introduce a range of core creative design and visual communication skills. Students will be required to demonstrate an understanding of these core skills by producing a portfolio of work that engages with topical issues and debates in visual digital cultures.

Contemporary Media Practice: 2 (Core)

In an era of democratized technology, distribution platforms and funding streams, contemporary media practitioners have opportunities to fund, produce and exhibit their work like no generation before them. This power must, though, be employed creatively - technological devolution demands multi-skilled practitioners. Accordingly, this module will introduce some core technical skills and practices that will enable students to engage creatively with the media culture of the 21st century. Here, the emphasis will be on principles of cinematography, editing, and sound design. Students will be required to demonstrate an understanding of these technical practices by producing a portfolio of work that responds to issues and debates surround contemporary media culture.

Introduction to Digital Cultures (Core)

This module introduces students to a critical discussion of digital cultures and their social, political, historical, economic and material contexts. Divided into four sections, this module will extend and deepen student’s understandings of the digital worlds they inhabit. The first segment of the module, ‘Digital (pre)histories’, introduces students to technical paradigms and technological developments that have been key to the formation of contemporary digital culture. ‘Digital materialities’ explores the material basis of our seemingly ‘immaterial’ digital worlds and its geo-political implications. ‘Digital labour’ considers the role of the digital in the world of work, as well as the digital as work. The final segment, ‘Digital politics’ considers the ways in which the digital has been politically conceptualised, as well as its use in various forms of activism.

Media Reading Group: 1 (Core)

This module provides students with an introduction to some of the major works in critical theory credited with influencing the development of Media Studies as a discipline. In doing so, it supports students in developing academic skills in the close reading of primary sources and the writing of critical responses based on such readings – skills that will underpin student work throughout the BA Media Studies programme. However, rather than cleave entirely to a familiar canon, this module begins to problematize the accepted boundaries of what constitutes ‘media’ and remains reflexive in its engagement with established theories, concepts and debates. Students will explore the radical and experimental traditions of Media Studies in order to begin to map links between such energies and the media culture of the present.

Media Reading Group: 2 (Core)

Set in the context of a recurrent tension between ‘old’ and ‘new’ in digital culture, this module begins with the question of the digital, rather than approaching it in accordance with a familiar historical narrative. Here, students will develop the skills and methods introduced in Media Reading Group: 1, engaging in close reading and discussion of selected texts deemed to have made significant contribution to Media Studies in the 21st century. Students will be asked to consider what particular critical insight these texts might offer to our present circumstances, and how the theories, concepts and debates raised by these works might respond to the radical and experimental energies of the discipline.

Media Theorizes Itself (Core)

As this module suggests, media increasingly theorizes itself in terms of both content and form. For example, media artefacts today frequently foreground their interfaces, or the structural and performative elements of storytelling. They often quite openly acknowledge their created status (‘laying bare the device’, as this is sometimes expressed). ‘If media tends to theorize itself today,’ Rombes has commented, ‘then what is the role of the critic, of the academic? One strategy might be to come at the topic indirectly, from odd and unexpected angles, through a variety of objects and texts…whose characteristics speak to our new era, where theory comes not from the academics, but from the very objects of academic critique’.

New Directions in Media Studies (Core)

Following on from Mediation and Representation, and responding to William Merrin’s call for a ‘Media Studies 2.0’, this module initiates a critique of representationalism and the textual paradigm in media studies and introduces students to some non-representational approaches to theorizing media and mediation, including notions of media ecologies and affect theory. It considers calls for an ‘upgrading’ of the discipline in the wake of twenty-first century media developments – ‘mediatization’, ‘convergence’, the ‘me-dia’ revolution, etc. – and explores how media studies has and might respond to the explosion of social media, open-source media, participatory media, search culture and online video, etc. It seeks to engage with media as environments, looking closely at the impact upon identity, everyday life and behavior at a time when existence and experience is everywhere ‘under construction’.

Level 2

Auditory Culture (Core)

Born into, and as part of, a sea of vibrations, we render it sonorous in cultural practice. In making, hearing and feeling sound, we frame the world and become what we are. In this, we also find ourselves in the midst of power relations, conflicts of value and interest. Sound is political, in the broadest sense, even where it takes the form of entertainment. What are the politics of acoustic space? What is the role of sound in the formation of memory and our sense of past, present and future? Of course, music is an important part of all of this, and it is with the study of a number of aspects of music cultures that the module begins, but by auditory culture we mean more than music. The module investigates the complex ways in which our sound worlds are fashioned, including issues around noise, silence and acoustic ecology. In short, students can explore how a sense of self, community and the world emerges through the interplay of musically and non-musically organized (and disorganized) sound.

Contemporary Media Practice: 3 (Core)

The convergence of traditional media processes, coupled with the ubiquity of mobile and networked technology, has brought forth a dynamic participatory culture that blurs established distinctions between production and consumption. Building on the experience of Contemporary Media Practice 1 and 2, in this module students will explore how these emerging forms of media practice can respond to some of the key critical debates in digital culture. Specifically, the module will see students working both individually and in partnership with others on a series of trans-media projects that in some way address key social, political and cultural concerns of the 21st century.

Games Cultures (Core)

Play is a ubiquitous activity, and games (in all their forms) have a long history and an influence that stretches beyond the game-space itself. In recent times, computers (and other trends within media and society) have lead to an exponential growth in the cultural, social and commercial importance of games, which have likewise become more sophisticated, becoming an important media form which has affected other media and culture generally. This critical studies theory module will aim to consider, evaluate and analyse the phenomena of games and game cultures in the 21st century.

Media Archaeologies (Option)

When studying contemporary media, the rapid pace of technological change can pose a problem for those of us hoping to find some clarity or surety within a dense and often overwhelming media landscape. To study the media of today effectively, therefore, we must also look to the media of the past. In this module, we will accordingly unearth various examples of forgotten, neglected, or underappreciated pre-twentieth century media, discovering how concepts, problems, and debates that still define the discourse surrounding media design and usage today have their origins in much older technological systems, whilst simultaneously challenging the assumptions that have underpinned traditional histories of media.

Media Arts (Option)

This module looks at the contemporary field of Media Arts through the perspective of media theory. We will look at how artists are responding to issues such as copyright infringement, communication on social media, privacy, Big Data, crowdsourcing, and the emergence of selfies and silly cat videos. Although this module does not require students to become artists themselves, they will be asked to approach these issues as if they were artists, by intervening through their available media to articulate their personal critical perspective. Media Arts will be approached as a rich and varied archive of practices for studying media ‘by other means’. Students will learn to develop a creative and critical approach to new technologies, and experiment their own personal method for thinking about media and making media.

Practices of Listening (Option)

A broad look at audio-culture from the twentieth century to the present, offering challenge and insight to Film & TV specialists. Vision is often privileged, resulting in a relative paucity of language for discussing sound. This problem is addressed, looking at texts from key theorists and practitioners, considering sound not in addition to vision, but independently, in music, radio, art and daily life.

Society, Aesthetics and Digital Media (Core)

Media are inseparable from the processes by which societies change themselves. However, they can also be conceived as having their own vitality. In other words, media are sites of complex agency. Developments in media technology express and embody mutations of society, power and the human. In relation to a range of social, cultural and political concerns, we will explore how digital media technologies organize our existence, our perception of reality and our capacity to imagine alternative ways of living. Today, as digital media become increasingly interrelated, networked and convergent, we are moving across the ‘form-barrier’ and entering a new, fluid and hybrid post-broadcast media ecology. This module interrogates the transformation and reconfiguration of our everyday lives and experiences in the new media ecology.

Visualizing the 21st Century (Core)

In the 21st century we no longer believe that a single unified world can be visualized from a privileged position. Any sense of distance from the world has collapsed. We are conscious of living in a time of continual change and transformation as opposed to a state of equilibrium. After all, the early 21st century has been marked by rising urbanism, the movements of people, the crisis of global warming, the dominance of ever more complex logistical networks, the emergence of new cultures of speed, experiments with new modes of warfare, etc. This is a confusing situation – simultaneously liberating, exciting, anarchic and dangerous. We are traversed and overwhelmed by these affective forces. This innovative module, in which students collaborate to produce film essays, presents an opportunity to reassess aesthetic theories and practices – our modes of visualizing - in order to confront the conditions of the present.

Level 3

Bio-Media (Option)

This module provides an opportunity to explore the entanglements of human bodies with media devices and processes. With and through media technologies, we transform the body and our understanding of bodily life. Today, this has become so obvious that the distinction between ourselves, machines and other species has been rendered problematic. Some insist on the need to defend the body against the encroachment of media and cybernetic systems. But perhaps the body has always already been mediated? Seizing upon this problematic, theorists, artists and media practitioners have converged upon a preoccupation with speculation upon the present and future condition of the mediatized human body.

Contemporary Media Practice: 4 (Core)

This module extends an opportunity to students to comprehensively explore the inherent promise and challenge of designing for digital contexts and concerns (in all their social, economic and cultural complexity) without dismissing still pertinent issues relating to analogue forms. In this, it seeks to reinforce a research-engaged ethos which looks outwards to the world at large and acknowledges a diversity of interests. It will not rigidly prescribe specific themes for study but will encourage students to take responsibility and negotiate them with tutors.

Eco-Media (Option)

This is an ecologically minded module, one that explores media and mediation in the context of contemporary environmental concerns. It foregrounds a variety of geo-centred attempts to rethink the materiality of media and emphasizes the radical consequences of such endeavours. Working collaboratively to produce audiovisual essays, students will explore how the material reality of mediation exposes us to spaces and times beyond human perception.

Gender and 21st Century Media (Option)

This optional module examines the intersection of gender and media in the 21st century. Discussing a variety of current topics concerning gender (e.g. gender, work and neoliberalism; lad culture; gender and the war on terror; transgender, non-binary and genderqueer identities in twenty-first century media culture; reproductive labour and the figure of the cyborg) through a diverse range of contemporary and historical media texts and practices, this module draws attention to some of the ways in which the relationship between media, gender and culture has changed with the shift from the 20th to 21st century.

Literature, Film and Gender (Option)

This module explores a wide range of gender topics (masculinities, the backlash against feminism, crossdressing, queer theory, and transgendering) through a variety of literary texts and films. Shakespeare, Ibsen, Hardy, and Woolf, are considered alongside more popular fiction by writers such as Susanna Moore, and films, including Priscilla: Queen of the Desert and The Crying Game.

Media and Control (Core)

Is the founding principle of the internet freedom, as so many once thought, or is it, in fact, control? This module looks at the politics of digital culture and the new capitalism of networked information technologies. Power, it can be argued, has increasingly come to lie in code, in protocols and algorithm. A new logic of control, simultaneously operating in both centralized and dispersed modes, has replaced hierarchical systems of power. What are the implications of networks as the core organizational structure for contemporary media, culture and life?

Media Speculations (Core)

Philosophical approaches have begun to contribute to the transformation of Media Studies. In this, we are not dealing simply with the crystallization and institution of a specialist philosophy of media, but rather the bringing together of the two disciplines into a mutually reinvigorating speculative encounter which allows a more expansive, more inclusive and more adventurous rethinking of both. This module, reflecting on the various ‘turns’ in theory in recent years – vital, affective, material, speculative, nonhuman - provides an opportunity to explore concepts and ideas which have emerged from within the ferment of this encounter from a range of exciting thinkers and theoretical perspectives.

Media Studies Dissertation (Core)

The dissertation is the culmination of each student’s undergraduate investigation into the theories and debates surrounding practices of contemporary mediation. It takes the form of an extended essay.

†The availability of optional modules may vary from year to year and will be subject to minimum student numbers being achieved. This means that the availability of specific optional modules cannot be guaranteed. Optional module selection may also be affected by staff availability.

Special Features

Lincoln School of Film and Media is home to a number of research projects that investigate, explore, and experiment with media as fundamental means of expression and communication. School academics are part of internationally recognised research in a variety of topics, including visual and digital culture, sonic studies, and media philosophy.

The School hosts a pioneering ESRC funded project which examines the roles of trust and empathy in online communications. Researchers within the School are collaborating in projects with the themes of Entangled Media, and Extra Sonic Practice. The co_LAB research group is involved in ongoing collaboration with partners in various European universities.

Entrepreneurship

The School as an in-house production arm augmenting a graduate start-up centre to encourage graduates to stay within the region to locate their creative industry businesses. Connections with both corporate and community bodies in the region resulted in a successful bid to OFCOM in 2007 for a five-year Community Radio licence for Siren FM, which broadcasts from the building.

Strong relationship with the BBC

We are also a licensed deliverer of the BBC Health and Safety awareness course, which is available to all students and staff. A major Knowledge Transfer Partnership involves production for Interflora.

Industry Links

Academic staff within the School are current media practitioners engaged with professional bodies, such as the Royal Television Society, the British Society of Cinematographers and the British Association of Film, Television and Screen Studies. BAFTA-winning television dramatist Neil McKay is a visiting professor in the School, and Honorary Doctorates include the actor John Hurt as well as Digital social entrepreneur Tom Roope of the Rumpus Room.

Placements

Placement Year

When students are on an optional placement in the UK or overseas or studying abroad, they will be required to cover their own transport and accommodation and meals costs. Placements can range from a few weeks to a full year if students choose to undertake an optional sandwich year in industry.

Students are encouraged to obtain placements in industry independently. Tutors may provide support and advice to students who require it during this process.

Student as Producer

Student as Producer is a model of teaching and learning that encourages academics and undergraduate students to collaborate on research activities. It is a programme committed to learning through doing.

The Student as Producer initiative was commended by the QAA in our 2012 review and is one of the teaching and learning features that makes the Lincoln experience unique.

Facilities

Critical studies are supported by printed and online resources available at the University’s Great Central Warehouse Library.

For practical work students will have the opportunity to make use of the Schools industry-standard facilities, such as television and radio studios, video editing suites, audio editing suites, a sound dubbing theatre, green screen room, writers’ room, colour finishing facilities, and photography studios.

The University is also host to the Media Archive for Central England, which contains a wealth of film, tape and digital media resources and work experience opportunities for students.

At Lincoln, we constantly invest in our campus as we aim to provide the best learning environment for our undergraduates. Whatever the area of study, the University strives to ensure students have access to specialist equipment and resources, to develop the skills, which they may need in their future career.

View our campus pages [www.lincoln.ac.uk/home/campuslife/ourcampus/] to learn more about our teaching and learning facilities.

Career Opportunities

Opportunities for Media Studies graduates may include creative or management roles in broadcasting and other media industries, social media management, media journalism and publishing, and advertising. Others may choose to continue their studies at postgraduate level.

Careers Service

The University Careers and Employability Team offer qualified advisors who can work with students to provide tailored, individual support and careers advice during their time at the University. As a member of our alumni we also offer one-to-one support in the first year after completing a course, including access to events, vacancy information and website resources; with access to online vacancies and virtual resources for the following two years.

This service can include one-to-one coaching, CV advice and interview preparation to help you maximise our graduates future opportunities.

The service works closely with local, national and international employers, acting as a gateway to the business world.

Visit our Careers Service pages for further information. [http://www.lincoln.ac.uk/home/campuslife/studentsupport/careersservice/]

Additional Costs

For each course students may find that there are additional costs. These may be with regard to the specific clothing, materials or equipment required, depending on their subject area. Some courses provide opportunities for students to undertake field work or field trips. Where these are compulsory, the cost for the travel, accommodation and meals may be covered by the University and so is included in the fee. Where these are optional students will normally (unless stated otherwise) be required to pay their own transportation, accommodation and meal costs.

With regards to text books, the University provides students who enrol with a comprehensive reading list and our extensive library holds either material or virtual versions of the core texts that students are required to read. However, students may prefer to purchase some of these for themselves and will therefore be responsible for this cost. Where there may be exceptions to this general rule, information will be displayed in a section titled Other Costs below.

Related Courses

The BA (Hons) Animation degree aims to introduce students to the innovative world of moving image, digital visualisation and contemporary narrative. The aim of this course is to develop creative animators and artists with the flexibility to practise their craft in a variety of media.
At Lincoln, our students can benefit from strong industry links, accreditation and extensive practical experience to help prepare them for a career in the exciting and innovative field of audio production.
The BA (Hons) Film and Television degree is taught by research-active academics working in a variety of fields including national and heritage cinema, gender and sexuality, minority representation, children's TV, and shlock cinema.
Taught by experienced, research and industry-active academics, the BA (Hons) Media Production at Lincoln is designed to support students’ growth as creative media professionals and provides the opportunity to develop a range of specialist skills.
For aspiring photographers and moving image makers, Lincoln’s BA (Hons) Photography degree offers an artistic learning environment that values creative expression.

Introduction

BA (Hons) Media Studies offers students the opportunity to examine the transformative role of 21st Century media in today’s digital society, and to develop advanced critical and creative skills relevant to this new world.

Media Studies is a young discipline, very open to speculation, experimentation and creativity. These values are important in our increasingly mediatized lives. 21st Century media are inseparable from all of the major contexts and concerns of our time. They are globally entangled in complex ways with economic, social, cultural, psychological, technical and environmental realms.

It is essential for us to build on past achievements in this field of study but also to be able to think critically in new ways about the changing world and our part in it. This programme teaches students how to think critically in new ways about the changing world and our part in it.

The Lincoln School of Film and Media offers a creative community of experienced staff, ambitious students and inspiring visiting speakers. We promote a collaborative, research-engaged ethos, reflecting a diversity of interests. Lincoln is distinctive in its commitment to a spirit of collective enquiry, inspired by the University’s ‘Student as Producer’ initiative. Through our teaching and research we aim to produce an intellectual commons and to participate in the transformation of the social world.

How You Study

The course blends the study of media theory with practical application, and places an emphasis on critical thinking and creativity. Teaching is informed by the expertise of the staff, particularity in 21st Century research.

In the first year, modules introduce both seminal perspectives and new directions in media studies. Students are supported to develop an understanding of the field's changing priorities and the new skills these demand.

In the second year, modules will focus more closely on themes of visuality and aesthetics, digital and auditory cultures, and the logics and practices of gaming. As students develop their creative practice portfolios, they will acquire skills that can help them attune to the contexts and concerns of digitality. There will also be further options to explore topics such as media arts, media archaeologies, and practices of listening

In the third year, students will have the opportunity to embark on a major independent research project and creative portfolio, as well as engage in advanced studies of the political and philosophical contexts of contemporary media. Students can also choose from a variety of optional modules, dealing with topics such as media and the environment, and gender and 21st Century media.

At the end of this final year, all students across The Lincoln School of Film and Media celebrate with a major degree show of their work.

Students will have the opportunity to learn and develop through lectures, workshops, seminars, group projects, screenings, research and an independent study.

Contact Hours

Level 1:

At level one students will typically have around 13 hours of contact time per week. A typical week may consist of:

  • 3 hours of practical classes and workshops
  • 1 hour of tutorial time
  • 6 hours in seminars
  • 3 hours in lectures


Level 2:

At level two students will typically have around 12 hours of contact time per week. A typical week may consist of:

  • 1 hour of external visits
  • 3 hours of practical classes and workshops
  • 1 hour of tutorial time
  • 4 hours in seminars
  • 3 hours in lectures


Level 3:

At level three students will typically have around 10 hours of contact time per week. A typical week may consist of:

  • 3 hours of practical classes and workshops
  • 3 hours of tutorial time
  • 2 hours in seminars
  • 2 hours in lectures


Overall Workload and Independent Study

University-level study involves a significant proportion of independent study, exploring the material covered in lectures and seminars. Students’ overall workload will consist of their scheduled contact hours combined with independent study. The expected level of independent study is detailed below.

Level 1:

  • Total scheduled teaching and learning hours: 273
  • Percentage scheduled teaching and learning hours: 23%
  • Percentage of independent study expected: 77%


Level 2:

  • Total scheduled teaching and learning hours: 252
  • Percentage scheduled teaching and learning hours: 21%
  • Percentage of independent study expected: 79%


Level 3:

  • Total scheduled teaching and learning hours: 220
  • Percentage scheduled teaching and learning hours: 18%
  • Percentage of independent study expected: 82%

Contact Hours and Independent Study

Contact hours may vary for each year of a degree. When engaging in a full-time degree students should, at the very least, expect to undertake a minimum of 37 hours of study each week during term time (including independent study) in addition to potentially undertaking assignments outside of term time. The composition and delivery for the course breaks down differently for each module and may include lectures, seminars, workshops, independent study, practicals, work placements, research and one-to-one learning.

University-level study involves a significant proportion of independent study, exploring the material covered in lectures and seminars. As a general guide, for every hour in class students are expected to spend two - three hours in independent study.

Please see the Unistats data, using the link at the bottom of this page, for specific information relating to this course in terms of course composition and delivery, contact hours and student satisfaction.

How You Are Assessed

Students on this course are assessed through essays, reports, creative production, presentations, critical evaluations and blogs.

Assessment Breakdown

Level 1:

Coursework: 90%
Practical exams: 10%
Written exams: 0%

Level 2:

Coursework: 98%
Practical exams: 2%
Written exams: 0%

Level 3:

Coursework: 83.75%
Practical exams: 16.25%
Written exams: 0%

Assessment Feedback

The University of Lincoln's policy on assessment feedback aims to ensure that academics will return in-course assessments to students promptly – usually within 15 working days after the submission date (unless stated differently above)..

Methods of Assessment

The way students will be assessed on this course will vary for each module. It could include coursework, such as a dissertation or essay, written and practical exams, portfolio development, group work or presentations to name some examples.

For a breakdown of assessment methods used on this course and student satisfaction, please visit the Unistats website, using the link at the bottom of this page.

Throughout this degree, students may receive tuition from professors, senior lecturers, lecturers, researchers, practitioners, visiting experts or technicians, and they may be supported in their learning by other students.

Interviews & Applicant Days

We do not interview applicants but we host applicant visit/taster days so that you can meet other applicants, try out the facilities, and obtain further information and details about the course.

What We Look For In Your Application

We do not specify A level subjects but seek evidence of media-related critical awareness and/or creativity such as qualifications in Media, English, Sociology, Philosophy, Politics, Film Studies, Art, Design, or Theatre Studies.

We particularly value personal statements that demonstrate relevant experience, a broad range of interests and a real passion for thinking critically about media in the 21st Century.

Staff

Throughout this degree, students may receive tuition from professors, senior lecturers, lecturers, researchers, practitioners, visiting experts or technicians, and they may be supported in their learning by other students.

For a comprehensive list of teaching staff, please see our Lincoln School of Film and Media Staff Pages.

Entry Requirements 2018-19

GCE Advanced Levels: BBC

International Baccalaureate: 29 points overall.

BTEC Extended Diploma: Distinction, Merit, Merit

Access to Higher Education Diploma: A minimum of 45 level 3 credits, to include 30 at merit or above.

Applicants should also have at least three GCSEs at grade C or above, including English Language, or the equivalent.

Mature students with extensive work experience and a portfolio of work, will be selected on individual merit. All relevant work experience should be noted on the application form.

If you would like further information about entry requirements, or would like to discuss whether the qualifications you are currently studying are acceptable, please contact the Admissions team on 01522 886097, or email admissions@lincoln.ac.uk.

Level 1

Contemporary Media Practice: 1 (Core)

This module will introduce a range of core creative design and visual communication skills. Students will be required to demonstrate an understanding of these core skills by producing a portfolio of work that engages with topical issues and debates in visual digital cultures.

Contemporary Media Practice: 2 (Core)

In an era of democratized technology, distribution platforms and funding streams, contemporary media practitioners have opportunities to fund, produce and exhibit their work like no generation before them. This power must, though, be employed creatively - technological devolution demands multi-skilled practitioners. Accordingly, this module will introduce some core technical skills and practices that will enable students to engage creatively with the media culture of the 21st century. Here, the emphasis will be on principles of cinematography, editing, and sound design. Students will be required to demonstrate an understanding of these technical practices by producing a portfolio of work that responds to issues and debates surround contemporary media culture.

Introduction to Digital Cultures (Core)

This module introduces students to a critical discussion of digital cultures and their social, political, historical, economic and material contexts. Divided into four sections, this module will extend and deepen student’s understandings of the digital worlds they inhabit. The first segment of the module, ‘Digital (pre)histories’, introduces students to technical paradigms and technological developments that have been key to the formation of contemporary digital culture. ‘Digital materialities’ explores the material basis of our seemingly ‘immaterial’ digital worlds and its geo-political implications. ‘Digital labour’ considers the role of the digital in the world of work, as well as the digital as work. The final segment, ‘Digital politics’ considers the ways in which the digital has been politically conceptualised, as well as its use in various forms of activism.

Media Reading Group: 1 (Core)

This module provides students with an introduction to some of the major works in critical theory credited with influencing the development of Media Studies as a discipline. In doing so, it supports students in developing academic skills in the close reading of primary sources and the writing of critical responses based on such readings – skills that will underpin student work throughout the BA Media Studies programme. However, rather than cleave entirely to a familiar canon, this module begins to problematize the accepted boundaries of what constitutes ‘media’ and remains reflexive in its engagement with established theories, concepts and debates. Students will explore the radical and experimental traditions of Media Studies in order to begin to map links between such energies and the media culture of the present.

Media Reading Group: 2 (Core)

Set in the context of a recurrent tension between ‘old’ and ‘new’ in digital culture, this module begins with the question of the digital, rather than approaching it in accordance with a familiar historical narrative. Here, students will develop the skills and methods introduced in Media Reading Group: 1, engaging in close reading and discussion of selected texts deemed to have made significant contribution to Media Studies in the 21st century. Students will be asked to consider what particular critical insight these texts might offer to our present circumstances, and how the theories, concepts and debates raised by these works might respond to the radical and experimental energies of the discipline.

Media Theorizes Itself (Core)

As this module suggests, media increasingly theorizes itself in terms of both content and form. For example, media artefacts today frequently foreground their interfaces, or the structural and performative elements of storytelling. They often quite openly acknowledge their created status (‘laying bare the device’, as this is sometimes expressed). ‘If media tends to theorize itself today,’ Rombes has commented, ‘then what is the role of the critic, of the academic? One strategy might be to come at the topic indirectly, from odd and unexpected angles, through a variety of objects and texts…whose characteristics speak to our new era, where theory comes not from the academics, but from the very objects of academic critique’.

New Directions in Media Studies (Core)

Following on from Mediation and Representation, and responding to William Merrin’s call for a ‘Media Studies 2.0’, this module initiates a critique of representationalism and the textual paradigm in media studies and introduces students to some non-representational approaches to theorizing media and mediation, including notions of media ecologies and affect theory. It considers calls for an ‘upgrading’ of the discipline in the wake of twenty-first century media developments – ‘mediatization’, ‘convergence’, the ‘me-dia’ revolution, etc. – and explores how media studies has and might respond to the explosion of social media, open-source media, participatory media, search culture and online video, etc. It seeks to engage with media as environments, looking closely at the impact upon identity, everyday life and behavior at a time when existence and experience is everywhere ‘under construction’.

Level 2

Auditory Culture (Core)

Born into, and as part of, a sea of vibrations, we render it sonorous in cultural practice. In making, hearing and feeling sound, we frame the world and become what we are. In this, we also find ourselves in the midst of power relations, conflicts of value and interest. Sound is political, in the broadest sense, even where it takes the form of entertainment. What are the politics of acoustic space? What is the role of sound in the formation of memory and our sense of past, present and future? Of course, music is an important part of all of this, and it is with the study of a number of aspects of music cultures that the module begins, but by auditory culture we mean more than music. The module investigates the complex ways in which our sound worlds are fashioned, including issues around noise, silence and acoustic ecology. In short, students can explore how a sense of self, community and the world emerges through the interplay of musically and non-musically organized (and disorganized) sound.

Contemporary Media Practice: 3 (Core)

The convergence of traditional media processes, coupled with the ubiquity of mobile and networked technology, has brought forth a dynamic participatory culture that blurs established distinctions between production and consumption. Building on the experience of Contemporary Media Practice 1 and 2, in this module students will explore how these emerging forms of media practice can respond to some of the key critical debates in digital culture. Specifically, the module will see students working both individually and in partnership with others on a series of trans-media projects that in some way address key social, political and cultural concerns of the 21st century.

Games Cultures (Core)

Play is a ubiquitous activity, and games (in all their forms) have a long history and an influence that stretches beyond the game-space itself. In recent times, computers (and other trends within media and society) have lead to an exponential growth in the cultural, social and commercial importance of games, which have likewise become more sophisticated, becoming an important media form which has affected other media and culture generally. This critical studies theory module will aim to consider, evaluate and analyse the phenomena of games and game cultures in the 21st century.

Media Archaeologies (Option)

When studying contemporary media, the rapid pace of technological change can pose a problem for those of us hoping to find some clarity or surety within a dense and often overwhelming media landscape. To study the media of today effectively, therefore, we must also look to the media of the past. In this module, we will accordingly unearth various examples of forgotten, neglected, or underappreciated pre-twentieth century media, discovering how concepts, problems, and debates that still define the discourse surrounding media design and usage today have their origins in much older technological systems, whilst simultaneously challenging the assumptions that have underpinned traditional histories of media.

Media Arts (Option)

This module looks at the contemporary field of Media Arts through the perspective of media theory. We will look at how artists are responding to issues such as copyright infringement, communication on social media, privacy, Big Data, crowdsourcing, and the emergence of selfies and silly cat videos. Although this module does not require students to become artists themselves, they will be asked to approach these issues as if they were artists, by intervening through their available media to articulate their personal critical perspective. Media Arts will be approached as a rich and varied archive of practices for studying media ‘by other means’. Students will learn to develop a creative and critical approach to new technologies, and experiment their own personal method for thinking about media and making media.

Practices of Listening (Option)

A broad look at audio-culture from the twentieth century to the present, offering challenge and insight to Film & TV specialists. Vision is often privileged, resulting in a relative paucity of language for discussing sound. This problem is addressed, looking at texts from key theorists and practitioners, considering sound not in addition to vision, but independently, in music, radio, art and daily life.

Society, Aesthetics and Digital Media (Core)

Media are inseparable from the processes by which societies change themselves. However, they can also be conceived as having their own vitality. In other words, media are sites of complex agency. Developments in media technology express and embody mutations of society, power and the human. In relation to a range of social, cultural and political concerns, we will explore how digital media technologies organize our existence, our perception of reality and our capacity to imagine alternative ways of living. Today, as digital media become increasingly interrelated, networked and convergent, we are moving across the ‘form-barrier’ and entering a new, fluid and hybrid post-broadcast media ecology. This module interrogates the transformation and reconfiguration of our everyday lives and experiences in the new media ecology.

Visualizing the 21st Century (Core)

In the 21st century we no longer believe that a single unified world can be visualized from a privileged position. Any sense of distance from the world has collapsed. We are conscious of living in a time of continual change and transformation as opposed to a state of equilibrium. After all, the early 21st century has been marked by rising urbanism, the movements of people, the crisis of global warming, the dominance of ever more complex logistical networks, the emergence of new cultures of speed, experiments with new modes of warfare, etc. This is a confusing situation – simultaneously liberating, exciting, anarchic and dangerous. We are traversed and overwhelmed by these affective forces. This innovative module, in which students collaborate to produce film essays, presents an opportunity to reassess aesthetic theories and practices – our modes of visualizing - in order to confront the conditions of the present.

Level 3

Bio-Media (Option)

This module provides an opportunity to explore the entanglements of human bodies with media devices and processes. With and through media technologies, we transform the body and our understanding of bodily life. Today, this has become so obvious that the distinction between ourselves, machines and other species has been rendered problematic. Some insist on the need to defend the body against the encroachment of media and cybernetic systems. But perhaps the body has always already been mediated? Seizing upon this problematic, theorists, artists and media practitioners have converged upon a preoccupation with speculation upon the present and future condition of the mediatized human body.

Contemporary Media Practice: 4 (Core)

This module extends an opportunity to students to comprehensively explore the inherent promise and challenge of designing for digital contexts and concerns (in all their social, economic and cultural complexity) without dismissing still pertinent issues relating to analogue forms. In this, it seeks to reinforce a research-engaged ethos which looks outwards to the world at large and acknowledges a diversity of interests. It will not rigidly prescribe specific themes for study but will encourage students to take responsibility and negotiate them with tutors.

Eco-Media (Option)

This is an ecologically minded module, one that explores media and mediation in the context of contemporary environmental concerns. It foregrounds a variety of geo-centred attempts to rethink the materiality of media and emphasizes the radical consequences of such endeavours. Working collaboratively to produce audiovisual essays, students will explore how the material reality of mediation exposes us to spaces and times beyond human perception.

Gender and 21st Century Media (Option)

This optional module examines the intersection of gender and media in the 21st century. Discussing a variety of current topics concerning gender (e.g. gender, work and neoliberalism; lad culture; gender and the war on terror; transgender, non-binary and genderqueer identities in twenty-first century media culture; reproductive labour and the figure of the cyborg) through a diverse range of contemporary and historical media texts and practices, this module draws attention to some of the ways in which the relationship between media, gender and culture has changed with the shift from the 20th to 21st century.

Literature, Film and Gender (Option)

This module explores a wide range of gender topics (masculinities, the backlash against feminism, crossdressing, queer theory, and transgendering) through a variety of literary texts and films. Shakespeare, Ibsen, Hardy, and Woolf, are considered alongside more popular fiction by writers such as Susanna Moore, and films, including Priscilla: Queen of the Desert and The Crying Game.

Media and Control (Core)

Is the founding principle of the internet freedom, as so many once thought, or is it, in fact, control? This module looks at the politics of digital culture and the new capitalism of networked information technologies. Power, it can be argued, has increasingly come to lie in code, in protocols and algorithm. A new logic of control, simultaneously operating in both centralized and dispersed modes, has replaced hierarchical systems of power. What are the implications of networks as the core organizational structure for contemporary media, culture and life?

Media Speculations (Core)

Philosophical approaches have begun to contribute to the transformation of Media Studies. In this, we are not dealing simply with the crystallization and institution of a specialist philosophy of media, but rather the bringing together of the two disciplines into a mutually reinvigorating speculative encounter which allows a more expansive, more inclusive and more adventurous rethinking of both. This module, reflecting on the various ‘turns’ in theory in recent years – vital, affective, material, speculative, nonhuman - provides an opportunity to explore concepts and ideas which have emerged from within the ferment of this encounter from a range of exciting thinkers and theoretical perspectives.

Media Studies Dissertation (Core)

The dissertation is the culmination of each student’s undergraduate investigation into the theories and debates surrounding practices of contemporary mediation. It takes the form of an extended essay.

†The availability of optional modules may vary from year to year and will be subject to minimum student numbers being achieved. This means that the availability of specific optional modules cannot be guaranteed. Optional module selection may also be affected by staff availability.

Special Features

Research

The Lincoln School of Film and Media is home to a number of research projects that investigate, explore and experiment with media as a fundamental means of expression and communication for different groups within society. Researchers within the School conduct internationally recognised research in a variety of topics, including visual and digital culture, sonic studies and media philosophy.

The co_LAB group, which coordinates the creative practice component of the course, is involved in ongoing collaboration with partners in various European universities.

Industry Links

Academic staff within the School are current media practitioners engaged with professional bodies, such as the Royal Television Society, the British Society of Cinematographers and the British Association of Film, Television and Screen Studies. BAFTA-winning television dramatist Neil McKay is a visiting professor in the School, and Honorary Doctorates include the Digital social entrepreneur Tom Roope of the Rumpus Room.

Placements

Placement Year

When students are on an optional placement in the UK or overseas or studying abroad, they will be required to cover their own transport and accommodation and meals costs. Placements can range from a few weeks to a full year if students choose to undertake an optional sandwich year in industry.

Students are encouraged to obtain placements in industry independently. Tutors may provide support and advice to students who require it during this process.

Student as Producer

Student as Producer is a model of teaching and learning that encourages academics and undergraduate students to collaborate on research activities. It is a programme committed to learning through doing.

The Student as Producer initiative was commended by the QAA in our 2012 review and is one of the teaching and learning features that makes the Lincoln experience unique.

Facilities

Critical studies are supported by printed and online resources available at the University’s Great Central Warehouse Library.

For practical work students will have the opportunity to make use of the Schools industry-standard facilities, such as television and radio studios, video editing suites, audio editing suites, a sound dubbing theatre, green screen room, writers’ room, colour finishing facilities, and photography studios.

The University is also host to the Media Archive for Central England (MACE), which contains a wealth of film, tape and digital media resources and work experience opportunities for students.

At Lincoln, we constantly invest in our campus as we aim to provide the best learning environment for our undergraduates. Whatever the area of study, the University strives to ensure students have access to specialist equipment and resources, to develop the skills, which they may need in their future career.

View our campus pages [www.lincoln.ac.uk/home/campuslife/ourcampus/] to learn more about our teaching and learning facilities.

Career Opportunities

Opportunities for Media Studies graduates may include creative or management roles in broadcasting and other media industries, social media management, media journalism and publishing, and advertising. Others may choose to continue their studies at postgraduate level.

Careers Service

The University Careers and Employability Team offer qualified advisors who can work with students to provide tailored, individual support and careers advice during their time at the University. As a member of our alumni we also offer one-to-one support in the first year after completing a course, including access to events, vacancy information and website resources; with access to online vacancies and virtual resources for the following two years.

This service can include one-to-one coaching, CV advice and interview preparation to help you maximise our graduates future opportunities.

The service works closely with local, national and international employers, acting as a gateway to the business world.

Visit our Careers Service pages for further information. [http://www.lincoln.ac.uk/home/campuslife/studentsupport/careersservice/]

Additional Costs

For each course students may find that there are additional costs. These may be with regard to the specific clothing, materials or equipment required, depending on their subject area. Some courses provide opportunities for students to undertake field work or field trips. Where these are compulsory, the cost for the travel, accommodation and meals may be covered by the University and so is included in the fee. Where these are optional students will normally (unless stated otherwise) be required to pay their own transportation, accommodation and meal costs.

With regards to text books, the University provides students who enrol with a comprehensive reading list and our extensive library holds either material or virtual versions of the core texts that students are required to read. However, students may prefer to purchase some of these for themselves and will therefore be responsible for this cost. Where there may be exceptions to this general rule, information will be displayed in a section titled Other Costs below.

Related Courses

The BA (Hons) Animation degree aims to introduce students to the innovative world of moving image, digital visualisation and contemporary narrative. The aim of this course is to develop creative animators and artists with the flexibility to practise their craft in a variety of media.
At Lincoln, our students can benefit from strong industry links, accreditation and extensive practical experience to help prepare them for a career in the exciting and innovative field of audio production.
The BA (Hons) Film and Television degree is taught by research-active academics working in a variety of fields including national and heritage cinema, gender and sexuality, minority representation, children's TV, and shlock cinema.
Taught by experienced, research and industry-active academics, the BA (Hons) Media Production at Lincoln is designed to support students’ growth as creative media professionals and provides the opportunity to develop a range of specialist skills.
For aspiring photographers and moving image makers, Lincoln’s BA (Hons) Photography degree offers an artistic learning environment that values creative expression.

Tuition Fees

2017/18UK/EUInternational
Full-time £9,250 per level £14,500 per level
Part-time £77.00 per credit point  N/A
Placement (optional) Exempt Exempt

 

2018/19UK/EUInternational
Full-time £9,250 per level £15,600 per level
Part-time £77.00 per credit point  N/A
Placement (optional) Exempt Exempt

The University undergraduate tuition fee may increase year on year in line with government policy. This will enable us to continue to provide the best possible educational facilities and student experience.

In 2017/18, fees for all new and continuing undergraduate UK and EU students will be £9,250.

In 2018/19, fees may increase in line with Government Policy. We will update this information when fees for 2018/19 are finalised.

Please note that not all courses are available as a part-time option.

For more information and for details about funding your study, please see our UK/EU Fees & Funding pages or our International funding and scholarship pages. [www.lincoln.ac.uk/home/studyatlincoln/undergraduatecourses/feesandfunding/] [www.lincoln.ac.uk/home/international/feesandfunding/]

The University intends to provide its courses as outlined in these pages, although the University may make changes in accordance with the Student Admissions Terms and Conditions [www.lincoln.ac.uk/StudentAdmissionsTermsandConditions].