MA Film, Television and Creative Practice (Part time)

"Studying at UEA was one of the most enjoyable and significant formative experiences of my life. Doing both an undergraduate and postgraduate course there provided me with an academic background in literature and film which was a vital stepping stone for my career in the British film industry"

In their words

Adrian Wooton, Chief Executive Film London, previously Director of the London Film Festival


(Research Excellence Framework 2014)

Deepen your understanding of the theory and practice of creativity in television and film production with a course taught by industry professionals and academic experts in the field. Drawing on your existing practical experience, you will develop your theoretical and production knowledge and creative skills via exploration of industry cultures, the relationships between media and society and practical work.

We are one of the longest-established centres for film and television studies in the UK. We are world leaders in the study of British, Hollywood and international cinemas, popular film and television genres and feminist approaches to media. Our major assets include the East Anglian Film Archive, the British Archive for Contemporary Writing, our close links with the British Film Institute in London, and MAKE Media, our in-house film production unit.

Graduates have gone on to various rewarding careers in archiving, academia, journalism, and in the film and television industries.


On this course you will combine development of your existing creative skills in film and television production with a grounding in the historical and theoretical approaches to the two media, learning from staff with academic expertise and industry experience.

You will take core modules on creativity and developing ideas, the study of media forms, and video production. These will be accompanied by a range of options covering areas such as gender in media, Hollywood cinema, and national and international film cultures. You will be working towards a dissertation-by-practice: an audio-visual project combining your intellectual and theoretical knowledge with your practical skills, supervised by a faculty member.

Our thriving postgraduate community benefits from regular conferences and events on campus, as well as workshops from visiting media professionals. 

Course structure

The part-time MA in Film, Television and Creative Practice is taught over two years. You will have the opportunity to refine your existing critical academic and practical production skills through a series of compulsory modules, followed by your choice of optional modules, allowing you to specialise in the areas that interest you most and align with your career goals.
You will learn through seminars, screenings, tutorials and production modules, including workshop-based teaching and practical assignments. Across the course you will explore the methods and theories commonly used to study media topics, and the scholarly approaches to studying television’s connections to society. In addition, you will gain an understanding of the processes involved in pitching ideas to industry. Later in your studies you will take a compulsory module on video production. You will also be able to tailor your course by choosing two further theory-based modules from a selection that draws on staff expertise and specialisms.

Towards the end of your second year you will also produce a dissertation-by-practice, which is an audio-visual project supported by a written portfolio. You will formulate an academic question, which you will then seek to answer using your production and research skills – for example, by making a documentary on a topic of study. This will allow you to combine your intellectual and theoretical knowledge with your practical skills. You will be assigned a member of staff as a supervisor, to advise you on the research, production and writing up of this dissertation.

Skills and experience 

As a postgraduate student in Film, Television and Media Studies at UEA, you’ll be part of our regular research programme. This includes guest lectures, study days, symposia and major international conferences. Recent events have included the International Girls Studies and Women’s Film and Television History Network conferences, the Green Film Festival, and symposia on celebrity and stardom, youth media, and new approaches to British cinema and television. You’ll take part in our postgraduate training seminars, and have the chance to hone your research and professional skills through sessions organised by the Faculty of Arts and Humanities Graduate School.

You will be taught by award-winning lecturers and be exposed to the most innovative and contemporary thinking. In the 2014 Research Excellence Framework (REF2014), 82% of our research was graded as world leading or internationally excellent. We are one of the longest established centres for film and television studies in the UK, internationally recognised as pioneers in the field. 

On this course you can benefit from our close links with the East Anglian Film Archive, the British Film Institute in London, and MAKE Media, a film production unit housed in the department. You will also have access to a library that boasts more than 5,000 monographs classified under film and TV studies, and more than 5,000 relevant titles classified elsewhere.

It also houses more than 100 film, television and media-related journals, in print and electronic formats; more than 12,000 videos and DVDs; near-complete runs of key American and British trade newspapers, including Variety, Picturegoer and Kinematograph Weekly; various databases and other electronic services, including Film Index International; a collection of cinema pressbooks; and electronic access to a range of e-books and archive resources.

You will also have access to UEA’s British Archive for Contemporary Writing, an important resource that holds significant media-related materials in addition to its extensive literary archive.

We also hold an online catalogue for Kinematograph Weekly (developed for UEA), online transcripts for BECTU oral histories, and the personal collections of critic Philip Purser, film historian David Shipman and cinematographer Gerald Gibbs.


Assessment is on the basis of coursework and projects, such as essays and seminar papers, presentation reports, reflective learning journals, video production, and the final dissertation.

Course tutors and research interests

You will learn from our faculty of internationally renowned research staff and industry professionals. Our research areas include media history, genre studies, gender and feminist media studies, British cinema, and audience and reception studies. We are recognised as world leaders in the study of British, Hollywood and international cinemas, popular film and television genres, and feminist approaches to media.

Where next? 

You will graduate ready to begin or take the next step in your career. You may wish to begin a career in the creative side of the film and television industry, or follow in the footsteps of alumni including Kate Bartlett (TV Producer, BBC), Darren Fisher (Creative Director, Film121) and Nathalie Morris (Head of Special Collections, British Film Institute). Or perhaps you will follow a number of our highly successful alumni who have gone on to successful careers in academia, archiving, journalism and media. 

Course Modules 2018/9

Students must study the following modules for 60 credits:

Name Code Credits


Unlike some other art forms, film and television drama productions are significantly influenced by the marketplaces in which they operate. The study of film and learning to be a film-maker is not complete without an understanding of how the film business works. In this module you'll be provided with a thorough and practical understanding of the processes of creative script and project development; the workings of the independent film business; the difference between studio films and independent films; the influence of the marketplace on project development; the importance of genre and different types of film; the skills of identifying and pitching a good story idea; and how producers deal with the organisations responsible for commissioning or financing films and television drama. By the end of the module you'll know how films and TV dramas get dreamt up, how they get pitched, and how they get financed. You will learn how the industry actually works. Priority for places on this module will be given to students taking the MA in Film Studies.




This module will provide you with key study skills in Media Studies, Film and Television Studies. It will be particularly useful for students unfamiliar with the British university system and its expectations of students. Every week you will have two classes. One class will focus on academic research and writing skills. You will be given training in effective reading of academic sources as well as clear and evidence-based writing. The other class will focus on theoretical and methodological approaches to contemporary media texts. Topics will include ideology, narrative, genre and media form. The assessment on this module is designed to help you prepare a research proposal for your MA dissertation. You will learn how to write a literature review and how to develop a project plan.




This module introduces students to key skills in video production and provides them with the opportunity to take an idea from conception through to the final product, deepening their knowledge of the processes and procedures behind the camera. You will engage with questions about the cinematic expression of narrative, exploring them through practice-based coursework. Students wishing to take this module should have previous experience of video production, though the module will offer basic technical training with broadcast-quality cameras and the Avid non-linear editing system.



Students must study the following modules for 80 credits:

Name Code Credits


A dissertation is an opportunity to be creative and to pursue your own research interests. You will propose, plan and conduct your very own project, specialising in an area of academic research that interests you and you will contribute to this research with your dissertation. You will discuss academic research and produce a short film that speaks to your chosen field of debate. To help you make this project a success, you will be assigned a dissertation supervisor who will support you throughout your research journey. You will be able to discuss with them your research proposal, your contribution to existing research and your project plan.




For nearly a century television has been the dominant global cultural force. Despite newer technological innovations, such as the internet, television remains a medium consumed by billions. Its social and cultural impacts are profound, and in this module you will examine the relationships between television and society. Key to engaging with this idea is exploring the purposes to which television has been used. A highly-regulated medium, in many countries it is mandated with fulfilling social purposes, such as educating citizens or serving to bring nations together. Why has television been given these roles, when most other cultural forms haven't, and what implications does this have? You will study a wide range of television's output in order to unearth how its social purposes play out in the kinds of things it broadcasts. To do this you will explore key ideas for thinking about television's representations, such as the conventions of particular genres, or debates about realism and naturalism. You will develop skills in textual analysis, with the purpose of identifying television's social functions via its texts. The module will enable you to engage with ongoing and persistent real-world debates about the impacts of culture generally, and the purposes of television in particular. It will develop your critical and analytical skills, situating these squarely within culturally-specific debates.



Students will select 40 credits from the following modules:

Name Code Credits


Beyond National Cinema links to work undertaken in Semester 1 of the MA Film Studies degree, to expand our definitions of cinema beyond the confines and borders of the nation. We examine a series of case studies that think through different methods and means by which films can be categorised, and what is at stake when those categories are enacted. Topics may include things like: flows and trafficking in national cinemas, transnational cinemas, world cinema, postcolonial cinemas, regional and local cinemas and global cinema. Within these topics we will study a wide range of cinemas from around the globe including things such as: Middle-Eastern cinema, British cinema abroad, Bollywood, Women's cinema and transnational Hollywood cinema. In examining these topics we will introduce you to a wide range theories and methods useful in the study of films beyond national borders including things such as historical methods, gender studies, audience studies, political economics, industrial studies and more. The aim of the module is to encourage you to think beyond the normative definitions of films within national categories, to shift their view to the global, regional and political aspects of filmmaking and consumption.




How are sex, gender and sexuality brought together to ensure the normative privileging of heterosexuality and the sex/gender binary? What possibilities are there for resistance to these norms? How does such resistance situate us socially, culturally, and politically? With queer theory as its focus and drawing on case studies from different fields - literature, film, drama and performance, politics, history, among others - in this interdisciplinary module, you'll examine sex, gender, and sexuality as effects of historically specific socio-cultural and geo-political power relations. Rather than approaching queer studies as a singular or coherent school of thought, you'll be encouraged to continuously problematise queer studies as a field and a mode of analysis, asking: What does it mean for theory, in particular, to be queer? What is involved in queering theory and being critically queer? What kinds of bodies or desires does queer describe? What are the promises of queer theory, and what are its perils? What is the future of queer? While doing so, you'll explore a variety of topics, such as politics of difference, representation and cultural production, performance and performativity, temporality and spatiality, subjectivity and embodiment. Overall, in this module, you'll problematise and challenge normalisations, hierarchies and relations of domination and explore the powerful processes and languages that attempt to fix sex, gender and sexuality as unchanging and universal.




This module introduces you to the theoretical and practical study of digital heritage and archiving, through an engagement with the collections of the East Anglian Film Archive and the British Archive for Contemporary Writing. It will address theoretical developments in cultural heritage and digital humanities, comparing traditional approaches to archival development with contemporary thinking surrounding archival modes of production, cutting edge imaging techniques, and issues surrounding access to digital archival resources. The module will allow you to explore practical issues of collection management and administration, including collection development, appraisal and accessioning policies, cataloguing and accessing data, copyright and licensing issues, and ethics and standards in print and media archives. It will take you through the lifecycle of the archival artefact: storage, conservation and restoration; selection, transportation and handling; digitisation, metadata creation and file storage; and digital preservation and data migration. At the end of the module you will have a good understanding of key issues and processes within the archive sector, and be in a position to apply for internships or volunteer opportunities within UEA Archives or other heritage organisations.




This module will develop your engagement with genre studies through the analysis of a range of fantasy genres, focusing particularly on science fiction film and television, and its overlaps with horror, epic fantasy and blockbuster Hollywood franchises. In the process, you'll be required to think about how these genres work in terms of their textual codes and conventions, their historical contexts of production and consumption, and to analyse a range of texts in relation to a variety of social/cultural and political issues. You'll engage with a range of theories and methods, which will also be grounded through the examination of specific texts and historical case studies.




You will learn about the relationship between feminisms and the cultural history of (primarily) US and UK television from second wave feminism to the present. Your module charts the dialogue between feminism and television in Anglophone contexts from the 1970s through to the 2010s, focussing on flashpoint moments for feminism (e.g. the women's liberation movement; millennial postfeminism; the global financial crisis) and touchstone texts (e.g. The Mary Tyler Moore Show, Prime Suspect, Buffy the Vampire Slayer, Sex and the City, Girls, Scandal) that have resonated particularly strongly with female audiences (e.g. soap operas; lifestyle TV; women centred dramas), struck a chord with feminist concerns (e.g. work/life balance, sexual freedoms, empowerment, the politics of relationships/singlehood/friendship), and generated foundational criticism by feminist television scholars. It will be structured chronologically, and topics may include feminism and female audiences; action heroines on television; the figure of the female detective; women's work; intersectional identities (queerness, post-racial discourse, masculinities) and recessionary culture.




Comic books have a long association with the world's film and television industries. Comics have long provided the origin sources for film and television adaptations, from the early animation and live action television to today's blockbuster films. Moreover, comics from around the world, from Marvel and DC Comics in the USA to European bande desinee to Japanese manga, have become the origin points for vast multimedia franchises. This module seeks to understand the relationships between comics and their media adaptations. To do so, you will take a global view of the comics in film and television, considering examples from Hollywood to Asia. In doing so we will consider the range of genres and topics that comics have influenced within film and television cultures including: issues of ideology and gender, issues of adaptation, franchising and transmedia production.




'Hollywood' as an industry, cultural institution and maker of films has dominated the global cinematic imagination for decades. On this module, we investigate the history, production cultures and texts made by the US film industry from its classic period to contemporary filmmaking. This will include analysing Hollywood from a range of perspectives, which may include things like studio filmmaking, independent filmmaking, genre filmmaking and the blockbuster. In doing so we will discover the multiplicity of cinemas at work within the concept of Hollywood.




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. In some cases optional modules can have limited places available and so you may be asked to make additional module choices in the event you do not gain a place on your first choice. Where this is the case, the University will endeavour to inform students.

Further Reading

  • BBCV

    Desiree Peeters studied Film and Television Studies at UEA and has gone on to be a Production Management Assistant at the BBC. Her first taste of paid media work was through MAKE@UEA, where she worked on various projects as a freelance filmmaker.

    Read it BBCV
  • The Community Cinema

    Cinema-going has retained its popularity in the 21st Century as a space in which to socialise watching films. But where do rural cinemas fit into the cinematic experience?

    Read it The Community Cinema
  • In This Corner of the World

    In This Corner of the World: a Japanese film caught between past and present- Reyna Denison It's widely known as a crowdfunding record-breaker, but the painstaking work to recreate Hiroshima in a new anime film is a nod to its traditional roots.

    Read it In This Corner of the World

    Your University questions, answered

    Read it #ASKUEA

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Entry Requirements

  • Degree Subject Humanities or Social Sciences
  • Degree Classification UK BA (Hons) 2.1 or equivalent

Students for whom English is a Foreign language

We welcome applications from students whose first language is not English. To ensure such students benefit from postgraduate study, we require evidence of proficiency in English. Our usual entry requirements are as follows:

  • IELTS: 6.5 (minimum 6.0 in all components)
  • PTE (Pearson): 62 (minimum 55 in all components)

Test dates should be within two years of the course start date.

Other tests, including Cambridge English exams and the Trinity Integrated Skills in English are also accepted by the university. The full list of accepted tests can be found here: Accepted English Language Tests

INTO UEA also run pre-sessional courses which can be taken prior to the start of your course. For further information and to see if you qualify please contact


Special Entry Requirements

Applicants are expected to have experience of using editing software and professional level cameras.


This course's annual intake is in September of each year.


All applications for postgraduate study are processed through the Faculty Admissions Office and then forwarded to the relevant School of Study for consideration. If you are currently completing your first degree or have not yet taken a required English language test, any offer of a place will be conditional upon you achieving this before you arrive.

Fees and Funding

Tuition fees for the academic year 2018/19 are:

  • UK/EU Students: £7,550 (full time)
  • International Students: £15,800 (full time)

If you choose to study part-time, the fee per annum will be half the annual fee for that year, or a pro-rata fee for the module credit you are taking (only available for Home/EU students).

We estimate living expenses at £1,015 per month.

Scholarships and Awards:

For details of all of the scholarships available to postgraduate applicants to Film, Television and Media Studies, please click here

How to Apply

Applications for Postgraduate Taught programmes at the University of East Anglia should be made directly to the University.

You can apply online, or by downloading the application form.

Further Information

To request further information & to be kept up to date with news & events please use our online enquiry form.

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

Postgraduate Admissions Office
Tel: +44 (0)1603 591515

International candidates are also encouraged to access the International Students section of our website.

    Next Steps

    We can’t wait to hear from you. Just pop any questions about this course into the form below and our enquiries team will answer as soon as they can.

    Admissions enquiries: or
    telephone +44 (0)1603 591515