Film Studies BA (Hons)

Full-time undergraduate (3 years)

Cambridge

September

Overview

Combine film theory with film-making practice to prepare for a career in many film, arts and culture related roles from production to journalism.

Full description

ARU has given me not only great facilities, teachers and friends, but also great opportunities.
Alex Turner
BA (Hons) Film Studies
I co-produced a short film, one of my video works was screened in an international film festival, another was screened at Arts Picturehouse in a special woman filmmaker's screening.
Deniz Johns
BA (Hons) Film Studies

Careers

Our BA (Hons) Film Studies will help you prepare for a career in many film and cinema-related roles, including film and television production or post-production, journalism, screenwriting, programming and curation, festival management and public relations.

You might also decide to continue on to a Masters course, such as our MA Film and Television Production.

Industry links

Our links with local and national organisations will help you make contacts and find work placements in the industry. Our recent students have found internships and placements with companies such as the BBC, Cambridge Festival of Ideas, Film & Video Umbrella, Cannes Film Festival, Cambridge Film Festival, Take One magazine, Watersprite Film Festival, CBBC, ITN Productions, London Studios, MTV, New York Film Academy, Pinewood Studios, StudioCanal UK (formerly Optimum Releasing) and Sight & Sound magazine.

You’ll also have the chance to undertake commission work and gain valuable experience in the film and creative industries through volunteering opportunities, including at the Cambridge Film Festival.

Modules & assessment

Year one, core modules

  • Introduction to Video 1
    Through a series of briefs and exercises that investigate the principles of filmic conventions, this module will introduce you to the language of film and video from the point of view of a practitioner. The projects will encompass the investigation of principles such as: composition and lighting, shot/reverse-shot sequences, matching on action and the rhythmic editing of picture and sound. The aim is not necessarily for you to perfect conventions, rather to experiment and gain an understanding of how they work. No prior technical experience of film and video is required - you'll receive inductions into camera operation, sound recording and editing. Your work will be regularly screened in a critical forum, allowing you to gain invaluable feedback from your peers and tutors.
  • History of Cinema
    In this module you'll explore the ways in which cinema has responded to historical developments from 1895 to today. You'll examine how both the cinematic product and its reception have been shaped by momentous political and cultural upheavals, such as the two world wars, Communist revolutions, colonial and civic struggles for independence and equal rights, the Cold War and its aftermath. You'll trace the origins of the shape of today's industry, from film-maker as artisan through the Hollywood studio system to multinational complexes, and consider the historically contingent experiences of cinema's audiences, including the shift from nickelodeons to movie palaces and today's multiplexes, and the diversification of audiences. You'll discuss technological innovations within the industry, such as the conversion to sound and colour, widescreen processes and digital effects as socially embedded phenomena. The key theme you'll consider throughout will be the relationship of the industrial and aesthetic aspects of film and cinema to the historical, social and political contexts of their moments of production and reception.
  • Film Reviewing
    The module will introduce you to film reviewing, beginning with an exploration of the nature and purpose of reviewing films, then working through the various steps of the reviewing process. You'll learn to write original reviews for a variety of different readerships. You’ll also explore aspects of genre, dramatic structure, performance and the technical background of film production, with examples from mainstream, independent and foreign language films.
  • Screenwriting: Introduction to the Screen
    This module will equip you with the skill base needed to make an entry-level submission in the industry, both in schemes for new writers and relevant competitions. You'll analyse a range of television dramas, learning how story ideas are generated and developed into a workable template. You'll then progress to developing your own original idea, producing a short treatment and the first few pages of a television script as well as some supporting material. Your final submission will be divided between a short critical essay as well as the creative practice component.
  • Introduction to Film Studies
    This introductory module will show you an analytic and creative approach to the study of films and film practices, introducing you to some of the key features of film language and theory. As well as contemporary and classical Hollywood, you'll study experimental practices and products, films and film-making contexts from a range of cultures. You’ll look at film as an ideological tool and learn to identify and debate the relative merits of different films, developing the critical judgement skills crucial to the subject. You’ll visit cinemas and film festivals and seminar activities such as shot analyses and oral presentations will help you understand the links between conceptual and practical approaches.
  • Introduction to Film Theory
    On this module you will focus on theoretical approaches to an understanding of how film works and the relationship between cinema and society, and between cinema and the individual. Through weekly lectures and seminars, you will study a number of key texts and concepts by influential writers who have helped to shape Film Studies as a subject in its own right, and who have contributed to the development of new ways of thinking about cinema. You will discuss the key points raised in each article, debate the strengths and weaknesses of each approach and apply these to clips and films screened throughout the module. You will explore some of the following questions: How does cinema mediate our understanding of reality and of social issues? How can a realist film style help to raise our awareness of aspects of reality that might otherwise go unnoticed? How have semiotic concepts been applied to the study of cinema as a language? How can we appreciate the role of the filmmaker as an auteur? What is the relationship between cinema, politics, and ideology? What is the relationship between cinema and the unconscious mind? How have ideas about gender, ethnicity, race, and sexuality been debated within film theory? Lectures will give you an overview of a particular theory, positioning it within a broader topic. The seminars will give you time to get to grips with the nuances, merits, and limitations of different methods of film theory, to ask questions, and above all to test out theories through a discussion of the films screened. They will also offer you essay writing workshops, to continue the development of your critical and analytic skills, and refine your essay-writing skills. You will be assessed through a 3000-word critical essay, due at the end of the module.

Year one, optional modules

  • Introduction to Global Cinema
    Traditionally, the concept of 'world cinema' has been used for national cinemas outside Hollywood. By contrast, this module will introduce you to a global and transnational approach, in which Hollywood forms one part of the globalised commercial and artistic film landscape of the last fifty years. You'll study a range of films in order to explore topics which may include Bollywood, Nollywood, Hollywood as global cinema, the cinema of small countries and other emergent cinema. You'll address the aesthetic, economic, linguistic and political contexts of different film cultures, with a focus on how they situate themselves in a global market.
  • Introduction to Filmmaking: Super 8mm
    In this module you will be introduced to the aesthetics of working with film: What film is, how it is different from video, its relationship to photography and the theoretical and practical benefits of its intrinsic nature, are the foundation of this module. This module replicates industry methods of production in that the film is shot in the analogue domain with post production being entirely digital (editing, addition of sound etc). You will develop your skills in visualisation as well as conceptual skills. There is a strong emphasis on pre-production. We will also explore sound design and working with music. You will receive technical tuition in using Super-8mm film cameras. These cameras have many creative features and you will be required to evidence your understanding of the camera’s capabilities in your final project. You will be assessed on a finished film and the presentation of your idea. This requires you to plan/script/design their film before any shooting begins. Working in groups, you will be given one cartridge of super 8mm film lasting around 3.5 minutes, and you will need to devise a piece using as much of the film as possible.

Year two, core modules

  • Cinema and Sound
    On this module you'll explore the role played by sound in the development and appreciation of cinema, including: the impact of the introduction of sound, the influence of sound on the perception and experience of the film spectator and the evolving terminology in the field. You'll examine the aesthetics of sound in the cinema with reference to films from the earliest experiments in sound recording, such as W.K.L. Dickson's Experimental Sound Film (1894/5), to early sound films by directors such as Alfred Hitchcock, René Clair and Fritz Lang, and all the way to contemporary cinema, by way of auteurs such as Robert Bresson, Jacques Tati and Andrei Tarkovsky. The theoretical framework for your study will include key texts by a range of critics and theorists who have sought to redress the balance in Film Studies (and culture at large), which often tends to privilege the image.
  • Documentary Film Theory
    This module acts as a co-requisite for the Level 5 practical Video Documentary module for Film Studies students. Students on other courses may choose to take the practical module as a free standing module. The module will introduce you to many of the critical discussions and debates surrounding the historical, technological, aesthetic and socio-political developments of the documentary approach to film and video-making. As well as paying full regard to the key trends and film-makers to have contributed to the history of this important genre, you will consider the renewed public interest in documentary film and its crossover into the mainstream with recent commercial and critical hits such as "When We Were Kings" (Leon Gast 1996) and "Bowling for Columbine" (Michael Moore 2002). You will focus on the nature, specificity and evolution of the documentary form, and its relationship to cinematic realism, and address the historical and theoretical contexts of the study of documentary film, as well as an engaging with topical debates regarding the relationship between reality and representation, documentary ethics, and the role of cross-cultural documentary and ethnographic film. You will also discuss different modes of address in documentary film-making, the role of the documentary film- maker, and the relationship between film-maker and subject(s), and explore current and future modes of distribution and exhibition for the documentary film, including specialist festivals devoted to documentary. Throughout the module there are opportunities for you to critically analyse key film texts. Your assessment will take the form of a 3000-word critical essay.
  • Classical Hollywood Cinema
    On this module you will focus on the practices, products and institutional frameworks of the classical Hollywood period. You will explore the narrative conventions that continue to shape the majority of mainstream commercial cinema and study the formal and stylistic features of the 'realist' text, the ideologies that inform it and its ideals of normative identities and lifestyles. You will explore coupling and heterosexual romance as a motor of plot development and as an intensely ideological aspect of films made in this period. Similarly, you will consider the significance of the ‘happy ending’ in maintaining or challenging key ideological norms and values. Drawing from some of the theoretical approaches encountered on earlier compulsory modules (Theorizing Spectatorship), you will think about classical Hollywood cinema’s positioning of the spectator, and the implications for the construction of gender and racial identities. Finally, you will also consider the style conventions of different classical Hollywood film genres and debate their significance in helping to align spectators ideologically and emotionally in the narrative action.
  • Independent Cinema: US and Beyond
    You’ll focus on the development, features and impact of independent cinema in the US and beyond. Alongside close examination of a number of key films, you'll consider areas such as the financing and promotion of independent film-making, and investigate how and why certain directors choose to work outside the protective infrastructures and high budgets provided by a studio system. You’ll also look at US-based film-makers starting out in the late 1970s and early 1980s, such as John Sayles, Jim Jarmusch and Joel Coen, and how they influenced later international filmmakers, such as Quentin Tarantino, Gregg Araki, Vincent Gallo and Lukas Moodysson. You’ll explore how Awards ceremonies and Film Festivals can showcase 'peripheral' cinema, and critically examine the role of independent distribution companies. Your assessment will take the form of a critical essay and an oral seminar presentation on the work of an independent film-maker of your choice.
  • Theorising Spectatorship
    You'll address issues of spectatorship and representation through a range of theoretical approaches including psychoanalytic theory. You'll also explore the intersection of pleasure and terror in our encounters with the image, considering the ways in which film taps into our unconscious, and the role of the body, the senses, and emotion in shaping our responses to moving image culture. You'll look at the future of film studies by addressing the changing conditions of spectatorship in the age of digital cinema.

Year two, optional modules

  • 16mm Filmmaking
    Despite its decline, Kodak's bankruptcy and the end of Fuji 16mm and 35mm production, celluloid is still very much alive. This module will allow you to work directly with film, from shooting, through editing and on to projecting. Your practical work will be underpinned by a critical consideration of the nature of film, its history and its relationship to photography and the digital image. You'll explore the proto-cinematic motion studies of Eadweard Muybridge and Etienne Jules Marey as well as artists like Cindy Sherman and Hiroshi Sugimoto. Some of the films you'll study include works by the Lumière Brothers, Chris Marker and Guy Sherwin.
  • Intercultural Encounters in Global Cinema
    On this module, you'll examine how the effects of increasing globalisation and the expansion of the European Union have been closely monitored and discussed not only in political discourse but in media as well. Cinema and TV are no exceptions, and such media portrayals are of key importance, be it as potential reflections of popular attitudes, ideas and preoccupations towards migration, or their likely impact on popular views and opinions on the topic. You'll investigate how the global perspective goes beyond the exploration of individual films in their national frameworks, and is therefore better equipped to address questions linked to the legacy of globalisation and international migration.
  • Screenwriting: The Feature Film
    This module will build on the skills you learned in the short fiction film module. Having understood the short film format, you'll now apply your skills to the more demanding task of understanding the feature film. You'll produce a portfolio including the first act of a screenplay, plus a one-page synopsis, with evidence of analytical story structure skills, and a short critical essay.
  • Animation
    To study this module you must have already taken the Introduction to Video module. This module will equip you with critical and practical skills in the field of Animation, with an emphasis on the possibilities of the frame-by-frame manipulation of time. You will be introduced to a range of conventional and experimental work that helps to inform practical and conceptual study. You will work in a number of ways, from camera-less film projects to working with the digital image. This broad base will encourage an ideas-driven and experimental approach to the medium. You will also explore key movements in Animation, including the geometric abstraction of Hans Richter and Viking Eggling, the rise of Disney and realism (the animation technique of roto-scoping is a particular focus here), the camera-less films of Lye and Brakhage, the reflexive strategies of Chuck Jones's Duck Amuck and Robert Breers Fuji. You will consider the role animation has played in the development of motion graphics for films. Screening of your work will be contextualised by theoretical and historic referencing. You will also develop skills in research, giving a presentation on an animator of your choice as well as a presentation on your final idea. For assessment, you will submit a 3-minute video animation piece and a 1000-word critical commentary and evaluation.
  • Screenwriting: Script to Screen
    On this module, you'll explore creative and technical processes involved in devising and developing a short narrative film, from script to screen. It differs from other screenwriting modules in that you'll turn your scripts into video. In particular, you'll learn the importance of visualisation, communicating narrative through image, sound and action. Although films are created in a collaborative way, you'll learn about and discuss the distinct roles of producer, director, writer and editor, to form an understanding of the interrelationships between each of them, ensuring the most effective realisation of your script ideas.
  • Non-Fiction Filmmaking
    To take this module you must already have taken Introduction to Video. You'll explore the nature and practice of documentary filmmaking, addressing the aesthetics of documentary in relation to expository, poetic, observational, performative, and reflexive modes of practice. You'll consider, reflect and implement appropriate responses to the range of issues that might arise in your work, including the ethical, creative, methodological, theoretical, and technical concerns relating to documentary. To rationalise the subject of non-fiction film and video in terms of forms and conventions of documentary language, you'll examine in detail various examples of contemporary, historical, independent, and mainstream documentary.

Year three, core modules

  • Major Project
    The individual Major Project will allow you to undertake a substantial piece of individual research, focused on a topic relevant to your specific course. Your topic will be assessed for suitability to ensure sufficient academic challenge and satisfactory supervision by an academic member of staff. The project will require you to identify/formulate problems and issues, conduct research, evaluate information, process data, and critically appraise and present your findings/creative work. You should arrange and attend regular meetings with your project supervisor, to ensure that your project is closely monitored and steered in the right direction.
  • Special Topics in Film Studies
    This module gives you the opportunity to study a topic taught by a member of staff whose particular academic interests and/or research is reflected in the area. You will extend your knowledge and understanding of a specific subject area that you may have encountered earlier in your studies, and in which there is deemed to be scope for more reading, critical commentary, analysis and discussion. Alternatively, this module may be used to introduce you to a topic which is not found elsewhere in the existing degree provision. A topic may be the study of a single filmmaker (e.g. Charlie Chaplin; Claire Denis) or cognate group of filmmakers (e.g. the French New Wave; New Queer Cinema), a genre (e.g. Global Horror; the Teen Movie), or a topic that allows for in-depth discussion and consideration of a defined area in film theory (Cinema & Sexuality; Digital Aesthetics in Contemporary Cinema; Film-Philosophy). The designated topics vary from year to year, you will be told what is available before making your module choice. You will not attend formal lectures - the module is taught in seminars in which group discussion is encouraged.
  • Multiplexed: Contemporary Popular Cinema
    On this module you'll explore trends in the aesthetics and production practices of Hollywood movies, and their contexts of distribution and reception, based on a representative selection from the last four decades. You'll discover how the style and output of American popular cinema in this period has responded to changing socio-political, economic and cultural circumstances. Alongside close readings of a number of films (bookended by the box-office record breakers Jaws and Avatar), you'll consider some of the broader tendencies they represent: What lies behind the so-called 'blockbuster syndrome' supposedly initiated by Spielberg's monster movie? What is the impact of new locations or technologies for viewing on the aesthetics of popular cinema? Did the blockbuster destroy or save Hollywood? These are just some of the questions you'll answer over the course of the module.

Year three, optional modules

  • Screenwriting: Adaptation
    On this final year module, you'll produce a portfolio that includes adaptations of existing material, such as short stories, poems, graphic novels or cartoon strips. You'll be encouraged to focus on theme, character and structure, plus other imaginative ways of transferring from a textual to a visual medium. This may involve changing aspects of the written story, such as point-of-view, number and nature of characters, location, duration, use of flashback, establishing shots, montage effect, and so on. You'll first discuss extracts from a number of adaptations from fiction to film and then go on to produce your own final short screenplay, adapted from a short story, poem or graphic novel of your choice. You'll submit your final adapted screenplay as part of your portfolio, together with supporting material and a critical essay.
  • Independent Film Practice 1
    This module will allow you to develop your own mode of creative film practice. Whether your projects are informed by considerations associated with drama, documentary, animation or experimental work, you will be expected to show a critical and reflective attitude towards your practice. Early in the module, you'll present your project proposal to tutors and the rest of the group, then, at a later stage, show and discuss your work in progress in the context of individual tutorials and class seminars. To develop your proposed project, you'll undertake preliminary practical projects, conduct research, begin pre-production and openly discuss your ideas, with advanced technical workshops being organised as required. You can work individually or in small groups. After completing the module, you'll attend a screening and a crit, at which every student will show at least one finished piece of work. The film that you show in the crit constitutes the first element of your assessment. You'll also submit a commentary and evaluation, discussing the intentions behind your project and the formative features of your work.
  • Working in English and Media
    This module, with a focus on work experience, will help prepare you for targeted entry into the world of multimedia, film, television, cinema, radio, video, teaching, publishing, arts administration and related creative and cultural industries. You'll identify, negotiate and carry out a work placement, or produce a commissioned product, in a chosen area, with guidance from the relevant Course Leader and Module Leader, who will provide ongoing consultation, supervision and support in association with the University's Careers Service. You'll develop a portfolio and write a critical essay, both of which you'll submit at the end of the semester. Your portfolio should include: your CV; copies of a range of academic work (including a DVD showreel, where appropriate); evidence of extra-curricular activities; evidence of work experience. Presentation is crucial to your portfolio, and you should make use of all available multi-media when refining your work. This module will form part of your ongoing programme of Personal Development Planning.
  • Narrative in Global Cinema
    On this module you will explore the way stories are told in films from around the world. You will study key aspects of cinematic narrative structure, including order, duration, cause-and-effect patterns, and the distinction between fabula (story) and syuzhet (plot). You will also examine how character and voice are handled in film, the function of 'point of view', focalisation, and internal vs external characterisation. You will address theoretical aspects such as narrator and narratee, reception theory, suspense vs surprise, the key 'seven' narrative functions, narrative and genre, and the ideology of 'show vs tell'. You will analyse non-narrative (and anti-narrative) aspects of narratives, such as description, iconic shots, music, and other disruptive elements. You will also be thinking about the different roles of words (dialogue, text, sub-titles) and imagery. You will study all of these narrative topics with regard to global cinemas. You will compare and contrast mainstream commercial Hollywood movies with non-American examples, ask to what extent continuity narrative has become the dominant pattern across the globe, examine narrative structures that do not fit the mainstream model, and analyse the intersection of global narratives with diverse identity formations. You will view films and clips from various European countries and non-Western regions, in addition to co-productions and transnational examples. Your assessment will comprise a narrative analysis (1000 words) and a critical (2000 words).
  • Avant-garde Film and Experimental Video
    On this module, you'll take an historical approach to the various movements and themes associated with avant-garde film and experimental video. You'll consider these in aesthetic and socio-political contexts, but you’ll also study the work of a number of key film and video-makers in close detail. Throughout the module, you'll consider and reflect upon the history of experimental film and video and its association with other artistic forms, as well as its rebellious relationship with the mainstream. In addition, you'll examine the movement of the avant-garde film between cinema and modern art, while still focusing on it as an independent form of art practice with its own internal logic and aesthetic discourse.
  • Film Journalism
    Starting with an exploration of the various modes within which film journalism functions, this module will guide you through the world of professional film journalism, giving you the skills and knowledge to create original features for a variety of readerships in a range of media. You’ll look at working with editors; planning and structuring interviews; developing, drafting and revising reviews and features; and developing a personal style. Your explorations will be reinforced by regular formative assignments, leading to the creation of your own portfolio of work.
  • Independent Film Practice 2
    The projects that you'll propose to tackle in this module will draw on the strengths of your work in Independent Film Practice 1, as you develop a particular method of working, or hone a specific approach to practice - whether in the context of drama, documentary, animation or experimental modes. In this respect, you'll also be encouraged to consider the wider context of your work. In the first few weeks of the module you'll take conceptual workshop projects that, through practice, will help you think critically and re-examine concepts associated with the fundamental aesthetics and theoretical concerns of your work. After these initial workshop projects, you'll attend presentations and work-in-progress screenings, with the content of module, for the most part, led by the discussion of issues and concepts that arise in relation to your independent project. The progress of your projects will be addressed in detail throughout the semester in the context of seminars and individual or group tutorials with staff from across the department.
  • 35mm Filmmaking
    In recent years an analogue film ‘renaissance’ has emerged, led by major directors like Paul Thomas Anderson, Christopher Nolan and Quintin Tarrentino, with even major franchise films like Star Wars: The Force Awakens (2015) being shot on 35mm film. Moreover Kodak have identified this by relauncing new film stocks and cameras. But there are also more practical reasons to returned to film. Shooting on celluloid means that a production is preserved for a future where 4K or 8K become standard resolution. Therefore we are thinking of film in the digital age, as much as we are engaging with the aesthetics of analogue filmmaking. This module completes a strand of three modules on analogue filmaking. You will have been introduced to the aesthetics of celluloid at level 4 on the Introduction to Filmmaking: Super 8mm module, then have developed those skills further on the level 5 16mm Filmmaking module. In the current module you are able to consolidate that knowledge and experience when addressing the 35mm film gauge. The module is based around technical workshops into all aspects of the film camera. Cinematography, exposure, composition, mise-en-scene will be a particular focus. You will also examine the aesthetics of sound design. In this modules you will work in groups as you will take on one of the various technical and creative roles. These will be in the areas of camera, lighting, screenwriting, direction, pre-production, editing, and sound design. For the final assessment, you will work with a 400ft roll of film, which will give you 4.5 minutes of screen time. The final film should make use of as much film as possible. Films should be no shorter than 3 minutes.

Optional modules available all years

  • Anglia Language Programme
    The Anglia Language Programme allows you to study a foreign language as part of your course. You'll take one language module in the second semester of your first year in order to experience the learning of a new language. You must select a language you've never learnt before from the following: Chinese (Mandarin), French, German, Italian, Japanese, and Spanish.

Assessment

For a full breakdown of module options and credits, please view the module structure.

To reflect the practical nature of the course, you won’t take any written exams. Instead, you’ll show your learning through a portfolio of creative work (including short films and film scripts), film reviews, critical essays and oral presentations. You’ll also critically evaluate your creative work, presenting and defending your work in ‘crits’.

Where you'll study

Your department and faculty

Using our creative expertise and industry connections in Cambridge and beyond, we create experiences that entertain, educate, inspire and improve lives.

At Cambridge School of Creative Industries, we believe in the importance of experimentation and risk-taking to create experiences that entertain, educate, inspire and improve lives.

Whether writing bestselling fiction, creating challenging documentaries or sharing a piano with people on the autism spectrum, the expertise of our staff goes far beyond teaching. Their research produces significant funding success, leading to important publications and international conferences.

Where can I study?

Cambridge
Lord Ashcroft Building on our Cambridge campus

Our campus is close to the centre of Cambridge, often described as the perfect student city.

Explore our Cambridge campus

Additional study information

Specialist facilities

You’ll have access to the kind of equipment you can expect to work with in the professional media industry, including studios, HD cameras and 16mm film cameras, Final Cut Pro editing suites, Steenbecks for 16mm editing, animation rostrum cameras, and screening theatres.

Study abroad

You can apply to spend one semester in years 2 or 3 studying at Ramapo University in New Jersey, USA; Roskilde University in Denmark; or CEU San Pablo University in Madrid, Spain.

Extra-curricular activities

We organise and attend many extra-curricular activities, including Film Festivals such as Cambridge and Watersprite, industry guest speakers and field trips. You’ll also be able to join student societies, such as the Film Viewing Society, the Anime and Manga Society and Media:Next Move Arts, which organise their own events.

Fees & funding

Course fees

UK & EU students starting 2018/19 or 2019/20 (per year)

£9,250

International students starting 2018/19 (per year)

£12,500

International students starting 2019/20 (per year)

£13,100

Fee information

For more information about tuition fees, including the UK Government's commitment to EU students, please see our UK/EU funding pages

How do I pay my fees?

Tuition fee loan

You can take out a tuition fee loan, which you won’t need to start repaying until after your graduate. Or alternatively, there's the option to pay your fees upfront.

Loans and fee payments

Scholarships

We offer a fantastic range of ARU scholarships, which provide extra financial support while you’re at university. Some of these cover all or part of your tuition fees.

Explore ARU scholarships

International students

You must pay your fees upfront, in full or in instalments. We will also ask you for a deposit or sponsorship letter. Details will be in your offer letter.

Paying your fees

Funding for UK & EU students

Most new undergraduate students can apply for government funding to support their studies and university life. This includes Tuition Fee Loans and Maintenance Loans. There are additional grants available for specific groups of students, such as those with disabilities or dependants.

We also offer a fantastic range of ARU scholarships, which provide extra financial support while you’re at university. Find out more about eligibility and how to apply.

Funding for international students

We offer a number of scholarships, as well as an early payment discount. Explore your options:

Entry requirements

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Important additional notes

Our published entry requirements are a guide only and our decision will be based on your overall suitability for the course as well as whether you meet the minimum entry requirements. Other equivalent qualifications may be accepted for entry to this course, please email answers@anglia.ac.uk for further information.

We don't accept AS level qualifications on their own for entry to our undergraduate degree courses. However for some degree courses a small number of tariff points from AS levels are accepted as long as they're combined with tariff points from A levels or other equivalent level 3 qualifications in other subjects.

International students

We welcome applications from international and EU students, and accept a range of international qualifications.

English language requirements

If English is not your first language, you'll need to make sure you meet our English language requirements for undergraduate courses.

Improving your English language skills

If you don't meet our English language requirements, we offer a range of courses which could help you achieve the level required for entry onto a degree course.

We also provide our own English Language Proficiency Test (ELPT) in the UK and overseas. To find out if we are planning to hold an ELPT in your country, contact our country managers.

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