42 visit
www.leedsmet.ac.uk for detailed course information
MA English: Contemporary Literatures MA Film & Moving Image Production
Full-time or part-time Full-time
MA English: Contemporary Literatures has been The School offers unique production opportunities
designed to develop both the subject-specific in both documentary and fiction filmmaking,
knowledge and the transferable skills base of with MA Film & Moving Image Production
graduates in English literature and other related students working alongside MA Screenwriting
subject areas. (Fiction) students. High quality professional film
equipment is matched by purpose-designed
The course has very practical applications for
studios and post-production suites. We develop
students, using content that is accessible to a
‘film specialists’ by engaging in rigorous, hands-
wide range of potential audiences. Research
on production. You will graduate with a showreel
methods are taught in ‘researching cultures’,
that will include a commercial, two short films
an interdisciplinary module which draws on
and a feature-film project.
expertise from colleagues working in the subject
areas of english literature, media and history. You will work within a close, dedicated team
Theoretical models are discussed and developed and the building of collaborative working
using concrete examples across a number of relationships is one of the most valuable
optional modules. outcomes of the course. Some of the exciting
opportunities we offer include: allocated
The course is distinctive from other MAs in that,
production budgets to make commercials
in common with the School’s undergraduate
and short films for shooting in the UK and
programmes, it deals with contemporary and
abroad, the opportunity to work with a range
popular literary forms alongside high-culture
of international visiting practitioners from all
ones, and has a strong interdisciplinary ethos.
areas of the industry and participation in an
The teaching is underpinned by internationally
industry festival. This will include: pitching
recognised research strengths of the teaching
panels, an introduction to agents and producers,
team.
screenings and script readings of graduation
This course provides professional development
work, and outside commissions.
opportunities, especially for those in the
Entry requirements
teaching profession, and is also the stepping
We welcome applicants from directors,
stone towards postgraduate research at MPhil
producers, cinematographers, sound recordists,
and PhD level.
designers, editors and art directors who can
Entry requirements
show prior achievement in their chosen field.
A good honours degree in English or a cognate
Entrants have normally completed a first
subject is normally required for admission to the
degree involving film and/or video practice or
course. Other non-certificated learning may be
some related field of study and should have
taken into consideration for applicants without
some considerable experience of their chosen
the normal qualification.
specialism. Applications are also welcome
Key facts
from students who do not have such formal
Course code: MAECL
qualifications but have relevant experience.
Place of study: Civic Quarter
All applicants must submit a portfolio of their
Start date: September
work relevant to their chosen specialism on this
Length of study: Full-time 1 year.
course. Offers are normally made after personal
Part-time 2 years.
or telephone interview, and are made throughout
the year.
Key facts
Course code: MAFIP
Place of study: Civic Quarter
Start date: September
Length of study: 18 months - 2 years.
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132