Undergraduate Degrees

BA Philosophy and Film Studies ( VP53 )

UCAS Course Code:: VP53
Duration:: 3 years
Attendance:: Full Time
Award:: Degree of Bachelor of Arts
School of Study:: Philosophy
Brochure:: School of Philosophy Undergraduate Brochure (PDF)
Typical A-Level Offer:: ABB-BBB

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Course Profile
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Blade Runner, Memento, The Matrix: many films illustrate philosophical themes and problems. Can film do more and actually do philosophy? Can cinema argue as well as show? And what can philosophy bring to the study of film, to our understanding of the practise of film-making, to films as texts? These kinds of question can be explored in the BA in Philosophy and Film Studies, which offers an interdisciplinary study of two subjects that are deeply interlinked, at least in the manner in which they are taught by staff in the Schools of Philosophy and Film & TV Studies. Students engage fully in the disciplines of philosophy and film studies.

Course Structure

Year 1

This year includes introductions to philosophical reasoning and to the history of the subject via major modern philosophers, to methods and issues in studying films and to the history of modern cinema. You take six compulsory modules, three from each discipline:

Classic Readings in Philosophy
Reasoning and Logic
Modern Readings in Philosophy
Studies in Film History
Analysing Film and Television
What is Film History?

Year 2

You must take the compulsory film module Film Theory plus another second-level module from a list which presently includes options in the economics of film and television, other film modules as well as modules in Literature and Politics for example. And you must take any two second-level philosophy modules, from a wide range of options including Aesthetics, Mind, Religion, Ethics, and many historical modules. Film & Literature as Philosophy must be taken either in the second year or the third year. In addition, you are entitled to two free choice modules, which can be chosen from any eligible module within the University. You may choose to focus, doing more philosophy or film modules, or to broaden your interests by taking modules from another humanity, a social science or even a science (subject to satisying any entry requirements). Or you can take a language or a more practical career-based module, in preparation for employment after university.

Year 3

You must take any two level 3 philosophy modules; again these are drawn from a wide range of options. And you must take two level 3 film modules, from a list that might include Ethnicity in American Film, Genre and Gender, and Contemporary Japanese Visual Media. Some students choose the dissertation module (in either philosophy or film) in the final year: the 10,000-word dissertation, on a philosophical or film studies subject, or interdisciplinary between the two, is prepared under the guidance of a tutor. (This is recommended for students thinking of going on to do postgraduate study).

Teaching and Assessment

This degree is taught jointly by the School of Philosophy and the School of Film and Television Studies.

Philosophy thrives on discussion and the exchange of views. Only some parts of it can be done in large lecture classes. So we do have some of those—but when we do, they are designed to set you thinking, not to tell you facts. It's about learning how to think, and how to express what you think, not learning what to say. All the units have small group seminars or tutorials in which you work on the problems with a member of staff.

During the year your written work is marked by the seminar tutors. They give you comments and feedback to help you improve. Time is set aside for you to call on the lecturers to discuss your work or to get individual guidance.

Assessment is by a mixture of essays, longer projects or dissertation, and examinations. Each unit has its own mix of assessment. The degree result is calculated from the results of all the units in your final two years. You can find more information on the modules available on this course on the 'Course Profile' page.

Course Organiser:Dr. Jeremy Goodenough

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Why choose us ‘What makes a stuffed shark a work of art?'

‘Is morality just a matter of taste?’

‘Is everything we do determined by our genes and our environment, or do we have genuine free will?’

‘Is it possible to prove (or to disprove) the existence of God?’

‘Can I know that what I take to be the real world is not just an illusion (as in The Matrix)?’

‘What's the difference between a logical argument and an illogical one?’

‘Is my mind the same thing as my brain, or does my mind have a non-physical aspect?’

‘Can machines think?’

‘Are there any good arguments against cloning people?’

Degrees in philosophy are designed to make you think. They tend to include a mixture of historical reflection—exploring questions that earlier philosophers have raised and testing the value of their answers—and cutting-edge work on questions that seem new and theories that seem fashionable. In fact the history often shows that the new theories have an interesting past as well.

Philosophy also requires an acute and critical mind. You don't just muse on possible answers to the questions: you challenge them. You demonstrate that some answers can't be right. This requires strict and rigorous reasoning.

Because of this rigour and logical precision, a degree in philosophy delivers powerful intellectual strengths, comparable with the outcomes of a science degree, but combined with the sensitivity and well-developed communication skills typical of an arts degree.

Compulsory Study (100 credits)

Students must study the following modules for 100 credits:

Name	Code	Credits
ANALYSING FILM AND TELEVISION	FTMF1F09	20
The module is designed to provide students with core study skills and techniques and methods of textual analysis. The module will cover the analysis of a range of formal features and frameworks such as narrative, mise-en-scene, camera work, editing and sound used in the analysis of film and television. The study skills covered will include use of the library and internet for research, as well as note taking, essay planning and the conventions of academic writing. In the process the module will cover issues such as referencing and plagiarism. It will be taught by lecture, seminar and screening.
CLASSIC READINGS IN PHILOSOPHY	PHI-1A01	20
This introductory unit for first year students is designed to invite you into philosophical enquiry by way of a detailed study of two or three of the most famous books by the founding fathers of Western Philosophy. The set texts will include a classic work by Plato, from the birth of philosophy in Classical Greece, and a classic work by Descartes, the father of modern philosophy Both texts are studied in modern English. No prior knowledge of philosophy is required, and this unit is suitable for students from other disciplines who are taking no other philosophy units. The unit is taught annually.
MODERN READINGS IN PHILOSOPHY	PHI-1A04	20
This unit introduces students to the history of modern philosophy by studying the work of a number of major philosophers, including Spinoza, Locke, Hume, Kant, Schopenhauer, Nietzsche and Wittgenstein. We look at the different answers they give to a common set of problems, beginning with problems in epistemology, i.e. problems about the nature and limits of human knowledge, about what we can know and how we can know it. These problems then connect with questions about what the world must be like in order for us to know it and what we (our minds) must be like in order to know the world.
STUDIES IN FILM HISTORY	FTMF1F06	20
This module provides an introduction to the narrative history of film from the mid 20th century to the present, as it is commonly understood within Film Studies. The purpose here is not to convince students of the rightness of this history but rather to familiarise them with the key points of reference in the field. The module is also designed to familiarise students with a range of objects and methods within the practice of film history and to use these to encourage students to start asking questions about the construction of the established and accepted narrative of film history. The module will be taught by lecture, seminar and screening.
WHAT IS FILM HISTORY?	FTMF1F11	20
This module provides an introduction to the narrative history of film in the late 19th century and early 20th century, as it is commonly understood within Film Studies. The purpose here is not to convince students of the rightness of this history but rather to familiarise them with the key points of reference in the field. The module is also designed to familiarise students with a range of objects and methods within the practice of film history and to use these to encourage students to start asking questions about the construction of the established and accepted narrative of film history. The module will be taught by lecture, seminar and screening.

Option A Study (20 credits)

Students will select 20 credits from the following modules:

Name	Code	Credits
GREAT BOOKS	PHI-1A08	20
In ‘Great Books’, students will read three or four of the greatest books that the world has ever seen. The module will normally be team-taught, with experts on the books in question lecturing on them and seminars following in which the books will be close-read. ‘Great Books’ will be themed each year: possible examples of themes include “Literary masterpieces on existential and spiritual need” (e.g. a Greek tragedy, Augustine’s City of God, Nietzsche’s Thus spoke Zarathustra, and Coetzee’s Disgrace); or “Great books of science” (e.g. Galileo’s Dialogues, Darwin’s Origin of Species, Freud’s Interpretation of Dreams); or “The essence of religion” (e.g. Feuerbach’s The essence of religion, Buber’s I and thou, Tolstoy’s The gospel in brief and Gandhi’s Hind Swaraj); or “War and philosophy” (e.g. Sun-Tze’s The art of war, Machiavelli’s The Prince, Kant’s Perpetual peace, Primo Levi’s, If this is a man). The module is assessed on the basis of two essays. ‘Great Books’ is suitable for students from across the university.
REASONING AND LOGIC	PHI-1A06	20
Philosophy is the study of arguments. But what exactly are philosophical arguments and how can we handle them? How should we read, understand and interpret philosophical texts? And how can we develop arguments ourselves? This module is designed to equip students with basic philosophical skills for answering these questions. The module is taught annually.

Compulsory Study (20 credits)

Students must study the following modules for 20 credits:

Name	Code	Credits
FILM THEORY	FTMF2F43	20
This module explores aspects of film theory as it has developed over the last hundred years or so. It encompasses topics including responses to cinema by filmmaker theorists such as Sergei Eisenstein; influential formulations of and debates about realism and film aesthetics associated with writers and critics such as André Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela Bálázs; the impact of structuralism, theories of genre, narrative and models of film language; theories of authorship; feminist film theory and its emphasis on psychoanalysis; intertextuality; theories of race and representation; reception models. The module is taught by lecture, screening and seminar. Students will work with primary texts - both films and theoretical writings - and have the opportunity to explore in their written work the ways in which film theories can be applied to film texts.

Option A Study (20 credits)

Students will select 20 credits from the following modules:

Name	Code	Credits
ADAPTATION: SHAKESPEARE ON STAGE AND SCREEN	LDCD2X45	20
Case studies of selected plays and productions are used as a basis for examining the processes of adaptation and interpretation of Shakespeare's plays. Exclusive to students on Literature and Creative Writing programmes and all joint programmes with Literature.
AN INTRODUCTION TO LATIN AMERICAN FILM	LCS-2H57	20
Recent Latin American films like the Mexican 'Love's A Bitch' and the Brazilian 'City of God' have received critical acclaim at home and abroad and have been great commercial successes. This module takes these films as its starting point and moves on to offer a survey of Latin American cinema up to the present day, including golden age, 'pulp' cinema and horror genres, political cinema, recent co-productions, the cinema of 'smaller' countries, and grassroots video work.
ANIMATION	FTMF2F33	20
Animation is one of the most popular and least scrutinised areas of popular media culture. This module seeks to introduce students to animation as a mode of production through examinations of different aesthetics and types of animation from stop motion through to cel and CGI-based examples. It then goes on to discuss some of the debates around animation in relation to case study texts. Example debates include: who animation is for (children?), the limits of the term “animation” in relation to CGI, the industrial frameworks for animation production (art vs commerce) and character vs star debates around animation icons. A range of approaches and methods will therefore be adopted within the module, including political economics, cultural industries, star studies and animation studies itself. The module is taught by seminar and screening.
BRITISH CINEMA AND THE PAST	FTMF2F18	20
Literary adaptations, historical epics, war films, spoofs, bio-pics and romantic comedies: British films feature a range of filmmaking styles that deal with and represent 'the past'. This module examines the prominent position that period films have occupied within British film culture of the last century. Their enduring popularity among both filmmakers and audiences raises a range of aesthetic, ideological and practical issues. What techniques and conventions do they use to depict the past? What visions of the British past do they offer? What pleasures do they provide for their audiences? How important are foreign audiences and investment? Do films about the past provide escapist entertainment, or do they enable filmmakers (and audiences) to address contemporary concerns? Investigating films such as 'Zulu', 'A Room with a View', 'Elizabeth', the 'Carry On' series and 'The Queen', the module examines the depiction of the past in British cinema from the 1930s to the present. The module is taught by seminar and screening.
BRITISH CINEMA SINCE 1990	FTMF2F51	20
The period since 1990 has been one of rapid change in the British film industry and this module explores this changing landscape. It will explore key areas including institution (the role of screen agencies, the BFI and key film making institutions such as Aardman, Working Title and Warp films) and policy as well as looking at areas such as genres, stars and directors. We will consider the interplay between the British film industry and the wider global film industry and will draw on a range of both familiar and less well known texts in order to analyse some of the key developments in British cinema during this time and to consider how recent developments such as the closure of the Film Council might impact upon British cinema culture.
FILM AND AUTHORSHIP	FTMF2F36	20
This module will introduce students to the theory and analysis of authorship within film. In the process, it will introduce students to the key theoretical debates over film authorship before moving on to examine a range of case studies. The module is taught by seminar and is supported by a separate programme of screenings.
FILM AND TELEVISION STUDIES SEMESTER ABROAD	FTMF2F98	60
A Semester Abroad for students in the School of Film and Television Studies.
FILM GENRES	FTMF2F71	20
Film Genres introduces students to the range of theories and methods used to account for the prevalence of genres within filmmaking. The module investigates historical changes in how film genres have been approached in order to consider how genres have been made use of by industry, critics and film audiences. Genre theories are explored through a range of case studies drawn from one or more of a range of popular American film genres that may include the Western, melodrama, romantic comedy, the road movie, the buddy movie, film noir, the gangster film, the war film and action/adventure film. In exploring concepts and case studies relating to film genres the module aims to demonstrate the impact of genres within contemporary culture.
FILM THEORY	FTMF2F43	20
This module explores aspects of film theory as it has developed over the last hundred years or so. It encompasses topics including responses to cinema by filmmaker theorists such as Sergei Eisenstein; influential formulations of and debates about realism and film aesthetics associated with writers and critics such as André Bazin, Siegfried Kracauer, Rudolf Arnheim and Bela Bálázs; the impact of structuralism, theories of genre, narrative and models of film language; theories of authorship; feminist film theory and its emphasis on psychoanalysis; intertextuality; theories of race and representation; reception models. The module is taught by lecture, screening and seminar. Students will work with primary texts - both films and theoretical writings - and have the opportunity to explore in their written work the ways in which film theories can be applied to film texts.
MEDIA INTERNSHIP	FTMF2F41	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1W610301 and U1P300302. This module is intended to provide students with an opportunity to experience working within a media organisation. The organisation will provide a clear sense of their structure and activities and students will work to a precise job description. The internship will therefore offer students the opportunity to work as individuals within a team and develop skills and experience vital to future career in the media.
MEDIA INTERNSHIP	FTMF2F42	20
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1W610301 and U1P300302. This module is intended to provide students with an opportunity to experience working within a media organisation. The organisation will provide a clear sense of their structure and activities and students will work to a precise job description. The internship will therefore offer students the opportunity to work as individuals within a team and develop skills and experience vital to future career in the media.
POLITICS AND MASS MEDIA	PSI-2A02	20
Mass media are an inescapable part of contemporary political life. This module examines the effect of mass media on political activity, considering their influence on voter behaviour, party campaigning and government practices. It also looks at the political values expressed within mass media and the political control exercised over mass media.
POPULAR MUSIC	FTMF2F52	20
This module encourages students to explore the ways in which popular music has been understood by scholars in the field of media and cultural studies. The module will examine the debates over popular music industries, texts and audiences, and incorporate an exploration of a range of popular musical forms, including folk music, rock, pop, rap and/or hip-hop, and dance music cultures. It will also examine the relations of popular music to other media, such as television and the internet.
RECEPTION AND AUDIENCE STUDIES IN FILM AND TELEVISION	FTMF2F29	20
This module seeks to understand the ways in which audiences engage with film and television. It will introduce students to some of the key research on, and theoretical debates about, audiences and the processes of reception, from work on encoding and decoding, through studies of the social activities of television consumption, to research on marketing, critical reception and exhibition. It will also introduce some of the methodological issues involved in the actual practice of doing audience studies. In this way, the module will not only encourage students to learn about the study of film and television audiences, but also equip them with the tools necessary to undertake their own studies. The module is taught by seminar.
RESEARCH TRAINING	FTMF2F34	20
The module is designed to provide students with the key concepts and methods necessary to devise and execute an independent research project whether using traditional academic methods or practice based research. As a result, it will cover the key processes involved in devising and focusing a research project, reflexively undertaking the research itself and writing up one's results. In the process, students will be shown how to position their work in relation to an intellectual context; devise the research questions that are practical and realistic; and developing research methods through which to address these questions. The module will be taught by lecture and seminar.
SCRIPT ANALYSIS AND STORY STRUCTURE	FTMF2F64	20
This module investigates the theory and practice of script analysis for film and television. Students will have an opportunity to learn professional approaches to reading and evaluating scripts and source material for production. The module will explore basic dramaturgy and learn a variety of paradigms to describe story structure and character development. Students will learn several approaches to evaluating material, and will have the opportunity to create industry standard story reports. Each week, students will read and analyze scripts and/or books, and then screen films based on the material. Seminars will introduce key concepts and explore the narrative elements in the scripts and final films. In addition, the unit will look at story development as a facet of media practice. The module will draw on a variety of texts. Original scripts will form the backbone of the module, but the reading will also include novels and other forms of source material. This will also include a brief survey of dramaturgy, from the ‘Poetics’ to modern manuals for script analysis. Other readings will examine the area as media practice. Formative work will play an important role in the module. Students will produce written reports virtually every week, which they will peer-correct in small support groups. This provides an opportunity to work in a variety of formats or with different types of material. In addition, it provides much-needed practice, as it takes many repetitions to learn the proper style and produce effective, professional-style work. The instructor will monitor formative work submitted through the Portal/Blackboard.
SUBTITLING AND DUBBING (LEVEL 2)	LCS-2T11	20
This module is an introduction to aspects of subtitling and dubbing in different media and multimedia contexts (television, radio, cinema, world wide web), and to issues associated with these activities in the age of globalisation. A range of materials and processes will be considered (e.g. film subtitling, subtitling for the deaf and hard-of-hearing, subtitling and dubbing in news reports or documentaries, subtitling and dubbing in the context of multimedia localisation) to investigate key features and concerns involved in transposing text across communication channels, media, forms and codes. Assessment commensurate with level. Taught with LCS-3T11 and LCS-3T17.
TELEVISION GENRE	FTMF2F54	20
Work on television genre continues to draw on theories developed in relation to film, despite the fact that these theories have been heavily criticised. Not only can this ignore the differences between film and television genres, it can also work to privilege film over television, so that television is often seen as an inferior copy of genres developed elsewhere. The module will therefore explore the theory of genre in relation to television, the historical development of television genres, and the operation of genre in the production, mediation and consumption of television and its programmes. The module will also examine these debates in relation to concrete case studies. The module is taught by seminar and screening.
THE BUSINESS OF FILM AND TELEVISION	FTMF2F35	20
The module provides an intensive introduction to the business of film and television; including the development, financing, production, distribution and exploitation of films and television programmes. It is based around a detailed understanding of the film and television value chain, showing how different businesses and creative people work together to create and exploit programmes. It will also cover the process by which scripts or TV programme ideas are written and developed. Emphasis will be placed on UK, European and American Independent film models, as well as the US studio model. It includes a wide range of recent case studies and real-life examples, with companies from Pixar to Working Title, and film-makers from Ken Loach to Terry Gilliam. Issues raised will include the impact of new technologies; changing business models; the conflict between commerce and art; entrepreneurship and managing creative people; and the complex and difficult relationships between writers, directors, producers, executives, financiers, and distributors. It is a practical forward-looking course about current and future business practise, which will be a valuable foundation for anyone interested in working in the media, film or television sectors. It will also be valuable to anyone studying film and television programmes and culture, so that they can fully understand the financial and business context in which programmes are created. By the end of the module you will know how films and TV programmes get dreamt up, how they get developed, and how they get financed and distributed. You will learn how the industry actually works.
THE ECONOMICS OF FILM AND TV	ECO-2B09	20
The unit examines the economic underpinning of Film and Television production and the likely directions of these industries. What will happen to the quality of television programmes after the digital revolution? Why are movie stars paid such fabulous sums of money? Should the BBC continue to exist? And, if so, should it be funded by the licence fee? Why does Hollywood dominate the film industry? These are some of the questions addressed by the unit. No previous knowledge of economics is assumed.
THE ECONOMICS OF FILM AND TV (CW)	ECO-2B09C	20
This is a coursework only version of ECO-2B09 The Economics of Film and TV.

Option B Study (40 credits)

Students will select 40 credits from the following modules:

Name	Code	Credits
"SPACE, TIME AND REALITY AMONG THE GREEKS"	PHI-2A39	20
2500 years ago Parmenides invented metaphysics by arguing that there is one thing that never changes. Plato responded with a theory of Forms, stable realities quite unlike the world of appearances. But later in his life he attacked that theory. Why? And did Aristotle have a better answer to how reality relates to other things in this world? This module explores some of the most influential texts in the field and provides a sound foundation in central themes from classical philosophy. This module is offered biennially.
EARLY ANALYTICAL PHILOSOPHY AND WITTGENSTEIN	PHI-2A76	20
Ludwig Wittgenstein was one of the most influential philosophers in the 20th century. This module focuses on his early philosophy, especially as articulated in his 'Tractatus', and its background in the thought of Frege and Russell. Central topics discussed are the 'Tractatus' conception of logic and language as well as the nature of philosophical problems and philosophical inquiry, including ethics. Students will benefit most from this module if they are already taken one or both of the following: Philosophy of Mind, Logic and Language. This module is offered biennially.
KNOWLEDGE AND PERCEPTION	PHI-2A66	20
The module provides a problem-focused introduction to epistemology. It explores how some simple and compelling arguments led to the view that whenever we perceive (see or hear, etc.) anything we (also) perceive ‘ideas’ or ‘perceptions’ in our minds, how this lastingly influential view led to some mind-boggling paradoxes that question the possibility of knowledge, and how the struggle with that view and its consequences led to the major philosophical theories of perception and to attempts to properly understand the concept of ‘knowledge’ and related notions like ‘justification’. The module is assessed primarily by examination, but students must also give a seminar presentation. This module will be offered biennially.
LANGUAGE AND REALITY	PHI-2A55	20
Twentieth century philosophy is characterised by a preoccupation with language. This attention involved a great deal of reflection on language itself and also on the possibility that traditional philosophical problems might be resolved or dissolved by thinking about the language in which the problems are posed. The period also witnessed great upheavals, with the rise and fall of logical positivism and ordinary language philosophy, the development of formal theories of meaning, and the eventual resurgence of pragmaticism and metaphysics. The module will explore these major themes through consideration of the work of major thinkers from the last fifty years, including Quine, Davidson, Putnam, and Kripke. This is a compulsory module for all students taking V500 Philosophy, and is available as an option for all other Philosophy students.
MORAL PHILOSOPHY - THE BASICS	PHI-2A25	20
What is morality? What is it to be a moral agent and to engage in moral deliberation? What is it to justify moral judgments and is there such a thing as a justification of moral practices themselves? What does it mean to be or try to become a good person? In this module we take a look at various theories about the nature of morality as well as examine critically the idea that what one needs to understand the phenomenon of morality or to engage successfully in moral thinking is a moral theory. This module is offered biennially.
NIETZSCHE AND POST-KANTIAN PHILOSOPHY	PHI-2A46	20
Friedrich Nietzsche (1844-1900) radically challenged traditional ideas of what philosophising involves and has had an enormous influence on subsequent thinkers. This module will explore some of Nietzsche's key writings, situating them in the context of Post-Kantian philosophy. Some or all of the following themes will be explored: appearance and reality, genealogy, truth, naturalism, nihilism, aesthetics and the critique of morality and religion. This module is offered biennially.
PHILOSOPHY OF HISTORY	PHI-2A31	20
What is history? Is it reasonable to apply moral criteria to the historical process? Can or even must we conceive of history as progress? Are there laws in history? From the 18th century enlightenment to Marxist historical materialism, strong claims have been made in response to these questions. They have come under severe attack from the later 19th century on to the present. The module will examine the arguments and concepts employed in this debate. It is suitable as a first honours module in Philosophy. This module is offered biennially.
PHILOSOPHY OF RELIGION	PHI-2A18	20
The module focuses on the claims of theistic religion. It seeks to clarify the concept of God and to examine the standard arguments for and against the existence of God. This module is offered biennially.
PHILOSOPHY OF SCIENCE	PHI-2A78	20
As any intellectual enterprise, natural science poses fascinating and deep problems. Think e.g. of mechanics: in order to describe observable motion it appeals to such unobservable entities as forces, and in order to talk about real bodies it refers to ideal entities like points endowed with a mass. These facts lead to challenging questions: what is the role of unobservable entities within a scientific theory? Why do we need to resort to ideal hypotheses in order to study the real world? Is there a fundamental divide between theoretical science and experimental science? We will explore these issues by looking at scientific practice from a philosophical standpoint. This module is self-contained and presupposes no previous knowledge of physics or other sciences. It is offered biennially.
SEMESTER ABROAD - AUTUMN	PHI-2A21	60
The School of Philosophy has various ERASMUS arrangements with European Universities where it is possible to spend a semester abroad. For more information on this please contact the ERASMUS Director, Dr O Kuusela.
SEMESTER ABROAD - SPRING	PHI-2A24	60
The School of Philosophy has various ERASMUS arrangements with European Universities where it is possible to spend a semester abroad. For more information on this please contact the ERASMUS Director, Dr O. Kuusela.
THE ENLIGHTENMENT AND ITS CRITICS	PHI-2A44	20
The 18th century saw a radical change take place in European culture. A new value was placed upon knowledge, new views of the ways in which society should be run were formed, new attitudes towards religion occurred, new theories of art and culture arose. This module looks at these changes and the effects they had upon epistemology, political philosophy and aesthetics. Enlightenment figures studied include Diderot, d’Alembert, Voltaire, David and Condorcet in France, Kant in Germany, Hume in Scotland. As a counterpoint to this we study some of the works of Jean-Jacques Rousseau, both an Enlightenment figure and yet perhaps its greatest critic. This module is offered biennially.
THE RATIONALISTS	PHI-2A29	20
The great rationalist philosophers Descartes (1596-1650), Spinoza (1632-77) and Leibniz (1646-1716) were preoccupied by the same themes: substance, God and the relationship between mind and body. All of them were in the vanguard of the new scientific culture of the XVII century, but all were also concerned to reconcile science with religion. We shall explore the different paths taken by the three thinkers from a shared starting point, rooted in reason and commitment to method. This module is offered biennially.

Free Choice Study (40 credits)

Students will select modules worth 40 credits from the course catalogue with the approval of their School

Option A Study (60 credits)

Students will select 60 credits from the following modules:

Name	Code	Credits
"SPACE, TIME & REALITY AMONG THE GREEKS - ADVANCED THEMES"	PHI-3A59	30
2500 years ago Parmenides invented metaphysics by arguing that there is one thing that never changes. Plato responded with a theory of Forms, stable realities quite unlike the world of appearances. But later in his life he attacked that theory. Why? And did Aristotle have a better answer to how reality relates to the things in this world? This module explores some of the most influential texts in the field. In addition Level 3 students move beyond the basics to do an advanced project on Aristotle, or a topic in Stoic or Epicurean metaphysics. This module is offered biennially.
ADVANCED KNOWLEDGE AND PERCEPTION	PHI-3A66	30
Advanced Theories of Knowledge covers the same topics as Theories of Knowledge, but differs from the latter in two respects. First, it requires coursework instead of an examination. All students must also give a seminar presentation. Secondly, the Advanced version demands more sophisticated work, so both the coursework and presentation are marked at a higher standard (hence the Level 3 rating). Students on the Level 2 version and the Advanced Level 3 version attend the same lectures, but Advanced students have separate seminars, and also have some tutorial contact in relation to their written work. This module will be offered biennially.
ADVANCED PHILOSOPHY OF RELIGION	PHI-3A18	30
Advanced Philosophy of Religion covers the same topics as Philosophy of Religion but differs in two respects. First it requires coursework as well as the 2 hour exam taken by students on the Level 2 version, hence the 30 credit rating. Secondly, the Advanced version demands more sophisticated work marked at a higher standard, hence the Level 3 rating. Students on the Level 2 and the Advanced Level 3 version attend the same lectures, but Advanced students have separate seminars, and also have some tutorial contact in relation to their written work. This module is offered biennially.
ADVANCED PHILOSOPHY OF SCIENCE	PHI-3A78	30
As any intellectual enterprise, natural science poses fascinating and deep problems. Think e.g. of mechanics: in order to describe observable motion it appeals to such unobservable entities as forces, and in order to talk about real bodies it refers to ideal entities like points endowed with a mass. These facts lead to challenging questions: what is the role of unobservable entities within a scientific theory? Why do we need to resort to ideal hypotheses in order to study the real world? Is there a fundamental divide between theoretical science and experimental science? We will explore these issues by looking at scientific practice from a philosophical standpoint. This module is self-contained and presupposes no previous knowledge of physics or other sciences. It is offered biennially.
ADVANCED STUDIES IN NIETZSCHE AND POST-KANTIAN PHILOSOPHY	PHI-3A46	30
Friedrich Nietzsche (1844-1900) radically challenged traditional ideas of what philosophising involves and has had an enormous influence on subsequent thinkers. This module will explore some of Nietzsche's key writings, situating them in the context of Post-Kantian philosophy. Some or all of the following themes will be explored: appearance and reality, genealogy, truth, naturalism, nihilism, aesthetics and the critique of morality and religion. Students on this advanced version will not sit an exam but will submit a piece of coursework and an advanced project. This module is offered biennially.
ADVANCED STUDIES IN THE ENLIGHTENMENT AND ITS CRITICS	PHI-3A44	30
Advanced Studies in the Enlightenment and Its Critics covers the same topics as PHI-2A44. However it requires more work than the latter (hence the 30 credit rating), and it also requires more sophisticated work (hence the Level 3 rating). Students on the Level 2 and Level 3 modules attend the same lectures, but Level 3 students have separate seminars and some tutorial contact in relation to their written work. The module is offered biennially.
ADVANCED THEMES IN EARLY ANALYTICAL PHILOSOPHY AND WITTGENSTEIN	PHI-3A76	30
This module explores the same ground of Wittgenstein’s early work as the level 2 version, but at a more advanced level. Students on both modules attend the same lectures but Advanced students attend their own seminars and are required to meet higher standards. Unlike the level 2 version, there is no assessment by examination: students will be required to submit coursework and an advanced level project. The module is biennial, and alternates with Wittgenstein: Later Writings.
ADVANCED THEMES IN THE PHILOSOPHY OF HISTORY	PHI-3A31	30
This module covers the same topics as Level 2 Philosophy of History, but differs from that unit in two respects: it has an advanced reading list, and requires more sophisticated work which is marked at a higher standard. Hence the Level 3 and 30 credit rating. Students on the Advanced module attend the same lectures, but have separate seminars and possible tutorials relating to their written work. Students will produce two pieces of work: a 2000-word essay (worth 33%), and a 4000-word project (worth 67%). This module is offered biennially.
ADVANCED THEMES IN THE RATIONALISTS	PHI-3A29	30
This module covers the same topics as Level 2 The Rationalists, but differs from that module in two respects: it has an advanced reading list, and requires more sophisticated work which is marked at a higher standard. Hence the Level 3 and 30 credit rating. Students on the Advanced module attend the same lectures, but have separate seminars and possible tutorials relating to their written work. Students will produce two large-scale pieces of coursework. This module is offered biennially.
CLASSICAL PHILOSOPHY SPECIAL SUBJECT	PHI-3A68	30
The module explores a selected area of Classical Philosophy with detailed attention to selected texts and issues. The topic will be chosen by the lecturer from the following: (a) Mind & Perception; (b) Reality; (c) Image and Illusion. Syllabus for (a): Plato, 'Republic', 'Phaedrus'; Aristotle, 'De Anima'. Syllabus for (b): Plato, 'Cratylus', 'Sophist'; Augustine, 'Confessions' I; Aristotle, 'Categories'. Syllabus for (c): Primary/secondary qualities in Democritus; Plato, 'Republic'10, 'Sophist'; Epicurean perception theory. Other suitable experience may be accepted in lieu of the pre-requisites, after consultation with the module organiser. The module is offered annually.
LANGUAGE IN MIND	PHI-3A41	30
What is language? Following on from the work of Noam Chomsky, many linguists, philosophers and psychologists answer: an innate faculty of mind. This module will explore the arguments for and against this position. Topics to be covered include: innateness, the idea that the mind is a computer, the possibility of ape linguistic competence, and the relation between syntax and meaning. The module will close by considering what significance Chomsky’s work might have for our conception of human nature, both morally and theoretically. This module is offered annually.
MORAL PHILOSOPHY WITH ADDITIONAL META-ETHICS	PHI-3A25	30
What is morality? What is it to be a moral agent and to engage in moral deliberation? What is it to justify moral judgments and is there such a thing as a justification of moral practices themselves? What does it mean to be or try to become a good person? In this module we take a look at various theories about the nature of morality as well as examine critically the idea that what one needs to understand the phenomenon of morality or to engage successfully in moral thinking is a moral theory. Students on this Level 3 version pursue a more advanced project in meta-ethics for their extended essay. This module is offered biennially.
PHILOSOPHY DISSERTATION MODULE	PHI-3A21	30
This module is open only to students who have achieved an overall second-year mark of 60% or above. When enrolling you must include a second choice on your enrolment form, so that if your marks are below 60% you can transfer smoothly to another module. Before enrolling, you MUST also complete a special application form available from the Philosophy Office, room 3.68. The module enables Philosophy majors and joint majors to pursue a topic of their own choosing under the individual supervision of a member of faculty. It is assessed as a project on the basis of an extended essay of about 10,000 words. There is no specific timetable slot for the module, arrangements for tutorial meetings being made between the individual tutor and student.
PHILOSOPHY DISSERTATION MODULE	PHI-3A24	30
This module is open only to students who have achieved an overall second-year mark of 60% or above. When enrolling you must include a second choice on your enrolment form, so that if your marks are below 60% you can transfer smoothly to another module. Before enrolling, you MUST also complete a special application form available from the Philosophy Office, room 3.68. The module enables Philosophy majors and joint majors to pursue a topic of their own choosing under the individual supervision of a member of faculty. It is assessed as a project on the basis of an extended essay of about 10,000 words. There is no specific timetable slot for the module, arrangements for tutorial meetings being made between the individual tutor and student.
PHILOSOPHY OF SOCIAL SCIENCE	PHI-3A23	20
This unit examines different approaches to understanding the social world, tracing their philosophical presuppositions and their implications for the study of economics and politics. It focuses on two contrasts: between the positivist and the hermeneutic approaches, and between individualistic and holistic styles of explanation. This unit is compulsory for PPE students, but can also be taken by students on other courses. There is also a 30 credit version of this unit (PHI-3A09) "available for non-PPE students".
PHILOSOPHY OF SOCIAL SCIENCE	PHI-3A57	30
This module examines different approaches to understanding the social world, tracing their philosophical presuppositions and their implications for the study of economics and politics. It focuses on two contrasts: between the positivist and the hermeneutic approaches, and between individualistic and holistic styles of explanation. This module is a 30 credit version of PHI-3A23 and is not suitable for PPE students.

Option B Study (60 credits)

Students will select 60 credits from the following modules:

Name	Code	Credits
ANALYSING MEDIA DISCOURSES	PSI-3A41	30
The module will explore some of the main approaches to the analysis of media texts including structuralism, psychoanalysis and discourse analysis. These approaches will be discussed in relation to films like James Bond, advertising campaigns like the ones by the United Colors of Benetton, and newspaper articles on current affairs. The aim of the module is to bring together theory and hands-on analysis and research in media products.
ASIAN CINEMA	FTMF3F68	30
'Asian Cinema' is a category of films increasingly in evidence in diverse places ranging from cinemas to high street shops. Recent years have seen a variety of Asian cinema incursions into global film culture, from Bollywood in UK multiplexes to Hong Kong action styles used in the Hollywood blockbuster. Inherent within the label are debates of resistance, industry, art, technology and aesthetics that have held sway since the dawn of cinema worldwide. In this module we break down these discourses and address the significant cultural, economic and political influences that Asian cinemas have had, and indeed still have, within world culture.
ASIAN CINEMA	FTMF3F70	20
'Asian Cinema' is a category of films increasingly in evidence in diverse places ranging from cinemas to high street shops. Recent years have seen a variety of Asian cinema incursions into global film culture, from Bollywood in UK multiplexes to Hong Kong action styles used in the Hollywood blockbuster. Inherent within the label are debates of resistance, industry, art, technology and aesthetics that have held sway since the dawn of cinema worldwide. In this module we break down these discourses and address the significant cultural, economic and political influences that Asian cinemas have had, and indeed still have, within world culture.THIS IS A 20 CREDIT VERSION OF THE MODULE FOR VISITING STUDENTS ONLY.
CELEBRITY	FTMF3F64	30
The module will explore the phenomenon of celebrity and fame from its origins to the present day, moving across a range of different media, including film, television, print media and the internet. In the process, it will examine key approaches to the study of celebrity, paying particular attention to the cultural formation of celebrity and how it is bound up with structures of power (e.g gender, class, ethnicity). It will feature a range of case studies that will include Classical Hollywood cinema, the coming of television, the supposed 'tabloidization' of print media, the birth of Reality TV, the growth of the celebrity scandal and the relationship between celebrity and the internet.
CELEBRITY	FTMF3F66	20
The module will explore the phenomenon of celebrity and fame from its origins to the present day, moving across a range of different media, including film, television, print media and the internet. In the process, it will examine key approaches to the study of celebrity, paying particular attention to the cultural formation of celebrity and how it is bound up with structures of power (e.g gender, class, ethnicity). It will feature a range of case studies that will include Classical Hollywood cinema, the coming of television, the supposed 'tabloidization' of print media, the birth of Reality TV, the growth of the celebrity scandal and the relationship between celebrity and the internet. THIS IS A 20 CREDIT VERSION OF THE MODULE FOR VISITING STUDENTS ONLY.
CONTEMPORARY DRAMA AND FILM	LDCD3X34	30
The module will examine emergent voices and trends in recent theatre, film and television (mainly British but with some American or European contributions). Issues covered include the (questioned) demise of explicitly political drama and the appearance of previously silenced voices (e.g. gay and lesbian themes, feminist playwrights and writing ethnicity, physical theatre practitioners).
CREATIVE WORK IN THE MEDIA INDUSTRIES	FTMF3F57	30
This module offers students the opportunity to gain an understanding of the industries that many of them may well wish to work in. The media industries are those that produce culture, and so they naturally include television, film, music, publishing (books, newspapers and magazines) and so on. People often want to work in the media since this kind of work offers opportunities to be ‘creative’, to think independently and engage in activities which interest them already. But what does ‘creativity’ mean in different kinds of media work and what kind of conditions do those working in the media typically face? To explore such questions, we reflect on changes in the nature of work itself in modern societies. That is, when so much modern work is either temporary and precarious, with many in advanced industrial countries working longer hours than ever before, is there a danger that work is detracting from the quality of our lives rather than enhancing it? The module explores the potential to find pleasure, fulfilment (and a steady income), as well as pressure, frustration and precariousness in media work. It also looks at the extent to which it is feasible to do ‘good work’ in the media industries, as they become seemingly ever more commercial and competitive. How possible is it to produce challenging, innovative, groundbreaking, thoughtful or just genuinely entertaining media products? This means engaging with academic research and other writing, both historical and contemporary in nature. The above issues cannot be addressed through simple description. They raise important theoretical and historical issues about the place of artistic and professional creativity in modern societies.
CREATIVE WORK IN THE MEDIA INDUSTRIES	FTMF3F59	20
This module is a 20-credit version of FTVF3F57: CREATIVE WORK IN THE MEDIA INDUSTRIES and is available only to Visiting Students.
CRIME TELEVISION	FTMF3F92	30
This module explores crime and investigation in recent US television, encompassing formal developments such as the use of group formats, specialist teams and genre hybrids. It considers theoretical/critical issues that may include the value and limits of approaching television via genre, representations of urban US life, the (lack of) engagement with questions of race, gender and the female investigator, gender and sex crimes, the statement and transgression of social/cultural taboos to do with sex, violence and identity and the increasing significance - post 9/11 - of paranoid narration, the investigation of terrorism as crime and the policing of US civil society. This module is taught by seminar and screening.
CRIME TELEVISION	FTMF3F94	20
This unit is a 20-credit version of FTVF3F92 CRIME TELEVISION and is available only to Visiting Students.
FILM AND TELEVISION STUDIES DISSERTATION (SPRING)	FTMF3F76	30
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36301, U1TW76301, TW76401, U1W610301, U1WV63301 AND U1P300302. This module provides the opportunity to work on an independently researched dissertation on some aspect of Film and/or Television Studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. (See also FTVF3F75 - note that you cannot take both modules.) Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.
FILM AND TELEVISION STUDIES YEAR ABROAD DISSERTATION	FTMF3F31	30
RESERVED FOR STUDENTS ON COURSE: U1TW76401 Final year dissertation involving research into a specific issue or topic in American culture. Restricted to students on the 4-year Film and American Studies programme. Topics will already have been approved on the basis of dissertation proposals submitted during the year abroad.
FILM AND TELEVISION STUDIES: DISSERTATION (AUT)	FTMF3F75	30
AVAILABLE ONLY TO STUDENTS ON COURSE(S): U1QW36301, U1TW76301, U1TW76401, U1W610301, U1WV63301, U1P300302 This module provides the opportunity to work on an independently researched dissertation on some aspect of Film and/or Television studies. You are able to choose whether you do the dissertation module in the Autumn or the Spring Semester of your final year, whichever fits in better with your schedule of modules. (See also FTVF3F76 - note that you cannot take both modules.) Topics are individually negotiated. They need not relate directly to material taught in previous modules, although it is expected that dissertations will draw on and reflect upon perspectives and methodologies introduced earlier in the degree course.
GENDER AND GENRE IN CONTEMPORARY CINEMA	FTMF3F10	30
This module offers an overview of critical and theoretical approaches to gender and genre in contemporary cinema, focusing particularly on North American cinema. Topics explored may include: new women and new men - the articulation of gender in popular and 'independent' American cinema since 2000; feminism and authorship; the response of mainstream and independent cinema to the political and cultural contexts of postfeminism; race and the limits of feminist representation; masculinity, homosociality and Hollywood genre. The module is taught by seminar, tutorial and screening.
GENDER AND GENRE IN CONTEMPORARY CINEMA	FTMF3F18	20
This module is a 20-credit version of FTVF3F10: GENDER AND GENRE IN CONTEMPORARY CINEMA and is available only to Visiting Students.
SCIENCE FICTION CINEMA	FTMF3F07	30
Science Fiction is currently a key genre in popular cinema, providing a significant focus for addressing social, cultural and political issues. This module follows the historical development of the genre and looks at changes in the way both mainstream and alternative films have addressed such issues. Films we look at range from silent classics such as 'Le Voyage dans la Lune' and 'Metropolis' to the more recent 'Independence Day', 'The Fifth Element', and 'The Matrix'. Other screenings might include 'Things to Come', 'The Day the Earth Stood Still', 'Demon Seed', 'Alien', 'The Brother from Another Planet', 'Robocop' and 'Akira'. Separate screenings.
SCIENCE FICTION CINEMA	FTMF3F13	20
Science Fiction is currently a key genre in popular cinema, providing a significant focus for addressing social, cultural and political issues. This module follows the historical development of the genre and looks at changes in the way both mainstream and alternative films have addressed such issues. Films we look at range from silent classics such as 'Le Voyage dans la Lune' and 'Metropolis' to the more recent 'Independence Day', 'The Fifth Element', and 'The Matrix'. Other screenings might include 'Things to Come', 'The Day the Earth Stood Still', 'Demon Seed', 'Alien', 'The Brother from Another Planet', 'Robocop' and 'Akira'. Separate screenings. This module is a 20-credit version of FTVF3F22: SCIENCE FICTION CINEMA and is available only to Visiting Students.
SELLING SPECTACLE	FTMF3F45	30
Spectacle is the cornerstone of the modern film industry, in Hollywood and in other national cinemas around the world. Blockbusters and other films are produced, marketed and exhibited using epic language, hyperbolic visuals and overblown promotional materials. Yet despite these excessive claims, the world of selling spectacle and epic marketing techniques are often overlooked in academic or critical discussions. This module will explore the history of spectacle within the global film industries, the cinematic technologies that have been created to enhance that spectacle, and the advertising and promotional techniques that were utilised to emphasise and display it. Following the work of theorists such as Tom Gunning, Geoff King, Janet Staiger and Barbara Klinger, the module will demonstrate the historical development of spectacle and selling that lies behind the modern system of film production, distribution and exhibition. Understanding the theory and methodologically distinct approaches needed to analyse posters, press books, trailers, websites, interviews, and critical reviews will be an essential component to this module. Students will be expected to engage with both theories of film advertising and analysis of marketing materials and other related epiphenomena. While the module will consider some films that may be described as belonging to the ‘epic’ genre ('The Ten Commandments', 1956; or 'Gladiator', 2000) this module is not concerned with generic traits so much as spectacular production practices throughout film history, and the industrial practices that were invented to educate audiences in such new, spectacular, images and concepts. Using specific case studies, the module will trace the historical development of spectacle within filmmaking, and its role in redefining the function of film advertising and promotion.
SELLING SPECTACLE	FTMF3F47	20
This module is a 20-credit version of FTVF3F45: SELLING SPECTACLE and is available only to Visiting Students.
STANLEY KUBRICK: FILMS IN CONTEXT	FTMF3F52	30
Stanley Kubrick is regarded as one of the most important filmmakers of the 20th century, with '2001: A Space Odyssey' (1968) and 'Dr Strangelove' (1964) being listed in critics' polls as two of the best films ever made. Kubrick also was one of the most commercially successful directors of the 1960s and 1970s. This module concentrates on the 11 full-length films he made from 1956 to 1999, but also considers his early career as a photo-journalist and maker of documentary shorts and short features. The module examines the production, themes, style and reception of Kubrick's films, and situates them in the context of broader developments in American cinema, culture and politics.
STANLEY KUBRICK: FILMS IN CONTEXT	FTMF3F54	20
This module is a 20-credit version of FTVF3F52 STANLEY KUBRICK: FILMS IN CONTEXT and is available only to Visiting Students.
TEENAGE KICKS: MEDIA, YOUTH AND SUBCULTURE	FTMF3F61	30
This module will address the historical development of the commercial youth market and introduce key debates relating to young people and their uses of mainstream and underground media. It will examine a range of theoretical approaches to youth culture, subculture and post-subculture, employing case studies of popular and alternative music, club culture, film, television, subcultural style and new digital technologies. It will address questions of ideology, identity and representation, most significantly issues of class, gender, race and ethnicity, and encourage students to discuss how cultural interests and practices are used to construct individual and group identities. It will focus primarily on the British post-war context – highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth – but will also examine young people’s media use and subcultures in other national and transnational contexts. The emphasis will be on analysing the extent to which cultural power is negotiated and resisted through shared media consumption and subculture formation
TEENAGE KICKS:MEDIA, YOUTH AND SUBCULTURE	FTMF3F69	20
This module will address the historical development of the commercial youth market and introduce key debates relating to young people and their uses of mainstream and underground media. It will examine a range of theoretical approaches to youth culture, subculture and post-subculture, employing case studies of popular and alternative music, club culture, film, television, subcultural style and new digital technologies. It will address questions of ideology, identity and representation, most significantly issues of class, gender, race and ethnicity, and encourage students to discuss how cultural interests and practices are used to construct individual and group identities. It will focus primarily on the British post-war context – highlighting the influence of American popular culture, Black Diaspora and technological transformation on British youth – but will also examine young people’s media use and subcultures in other national and transnational contexts. The emphasis will be on analysing the extent to which cultural power is negotiated and resisted through shared media consumption and subculture formation. THIS IS A 20 CREDIT VERSION OF THE MODULE FOR VISITING STUDENTS ONLY.
WOMEN, ISLAM AND MEDIA	FTMF3F83	30
BEFORE TAKING THIS MODULE YOU MUST TAKE EITHER FTVF1F09 OR TAKE PSI-1A05 OR TAKE PSI-1A06 This module intends to explore the relationship between women and Islam in contemporary media; particularly in film and television. The module is interdisciplinary in scope with readings and theoretical underpinnings from film and television studies as well as media, cultural and gender studies. The module is arranged thematically and focuses on different aspects of the relationship between women and Islam. Some of the themes and topics that will be studied in the module are: the political and religious resonance of the veil; Orientalism and Occidentalism’s significance to media studies; representations of consequences of arranged marriage in television; honour killings; trauma, terror and Islam and the representation of women as terrorists in films; the representation of silence, women and Islam in television adverts; international women’s film festivals.
WOMEN, ISLAM AND MEDIA	FTMF3F85	20
This module intends to explore the relationship between women and Islam in contemporary media; particularly in film and television. The module is interdisciplinary in scope with readings and theoretical underpinnings from film and television studies as well as media, cultural and gender studies. The module is arranged thematically and focuses on different aspects of the relationship between women and Islam. Some of the themes and topics that will be studied in the module are: the political and religious resonance of the veil; Orientalism and Occidentalism’s significance to media studies; representations of consequences of arranged marriage in television; honour killings; trauma, terror and Islam and the representation of women as terrorists in films; the representation of silence, women and Islam in television adverts; international women’s film festivals. THIS IS A 20 CREDIT VERSION OF THE MODULE - ONLY AVAILABLE FOR VISITING STUDENTS

Disclaimer

Whilst the University will make every effort to offer the modules listed, changes may sometimes be made arising from the annual monitoring, review and update of modules and regular (five-yearly) review of course programmes. Where this activity leads to significant (but not minor) changes to programmes and their constituent modules, there will normally be prior consultation of students and others. It is also possible that the University may not be able to offer a module for reasons outside of its control, such as the illness of a member of staff or sabbatical leave. Where this is the case, the University will endeavour to inform students.

Year Abroad

One semester can be spent in Finland, Germany or Greece on the ERASMUS exchange programme. Further details can be found on our Study Abroad pages.

Entry Requirements

A Level:: ABB-BBB
International Baccalaureate:: 32-31 points
Scottish Highers:: Must have at least one Advanced Higher
Scottish Advanced Highers:: ABB-BBB
Irish Leaving Certificate:: AABBBB-BBBBBB
Access Course:: Please contact the university for further information.
HND:: Please contact the university for further information.
European Baccalaureate:: 75%-70%

Students for whom English is a Foreign language

We welcome applications from students from all academic backgrounds. We require evidence of proficiency in English (including writing, speaking, listening and reading). Recognised English Language qualifications include:

IELTS: 6.5 overall (minimum 6.0 in Reading and Writing with no less than 5.5 in any component)
TOEFL: Internet-based score of 88 overall (minimum 20 in Reading and Speaking components, 19 in Writing component and 17 in Listening components.
PTE: 62 overall (minimum 55 in Reading and Writing components with no less than 51 in any component).

If you do not meet the University's entry requirements, our INTO Language Learning Centre offers a range of university preparation courses to help you develop the high level of academic and English skills necessary for successful undergraduate study.

Interviews

The School does not currently interview all applicants for undergraduate entry as standard, however we may interview mature students, those returning to study or applicants with alternative qualifications. All applicants who are made an offer are given the opportunity to meet with an academic on a Visit Day in order to gain a deeper insight into the course(s) you have applied for.

Gap Year

We welcome applications for deferred entry, believing that a year between school and university can be of substantial benefit. You are advised to indicate your reason for wishing to defer entry and may wish to contact the appropriate Admissions Office directly to discuss this further.

Special Entry Requirements

There are no specific subjects that are required in order to take up Philosophy, and it is not necessary to have studied any Philosophy before. We are keen to see some arts or humanities subjects that involve academic work, including writing essays and reading texts. Good results in Mathematics, Music or Latin are also an indicator for doing well in Philosophy - because of the kind of rigour which they instil.

Intakes

The School's annual intake is in September of each year.

Alternative Qualifications

If you have alternative qualifications that have not been mentioned above, then please contact university directly for further information.

GCSE Offer

Students are required to have GCSE Mathematics and GCSE English Language at grade C or above.

Assessment

For the majority of candidates the most important factors in assessing the application will be past and future achievement in examinations, academic interest in the subject being applied for, personal interest and extra-curricular activities and the confidential reference.

We consider applicants as individuals and accept students from a very wide range of educational backgrounds and spend time considering your application in order to reach an informed decision relating to your application. Typical offers are indicated above. Please note, there may be additional subject entry requirements specific to individual degree courses.

Fees and Funding

University Fees and Financial Support: UK/EU Students

Further information on fees and funding for 2012 can be found here

University Fees and Financial Support: International Students

The University will be charging International students £11,700.00 for all full time School of Philosophy undergraduate programmes which start in 2012.

Please click to access further information about fees and funding for International students

Applications need to be made via the Universities Colleges and Admissions Services (UCAS), using the UCAS Apply option.

UCAS Apply is a secure online application system that allows you to apply for full-time Undergraduate courses at universities and colleges in the United Kingdom. It is made up of different sections that you need to complete. Your application does not have to be completed all at once. The system allows you to leave a section partially completed so you can return to it later and add to or edit any information you have entered. Once your application is complete, it must be sent to UCAS so that they can process it and send it to your chosen universities and colleges.

The UCAS code name and number for the University of East Anglia is EANGL E14.

Further Information

If you would like to discuss your individual circumstances with the Admissions Office prior to applying please do contact us:

Undergraduate Admissions Office (Philosophy)
Tel: +44 (0)1603 591515
Email: admissions@uea.ac.uk

Please click here to register your details online via our Online Enquiry Form.

International candidates are also actively encouraged to access the University's International section of our website.