Writing and Film BA (Hons)

Full-time undergraduate (3 years, 4 years with foundation year)




Develop your creative and professional writing skills, examine key films and film-makers and create your own short films on our full-time Writing and Film Studies degree in Cambridge. Get ongoing support to find work placements and take part in local film festivals, as you prepare for a career in areas including screenwriting, journalism and film-making.

Full description


Our BA (Hons) Writing and Film Studies will help you prepare for many writing and film-related roles. Many of our past students now enjoy careers in film and video production, film criticism, cinema/film festival administration and management, film education, broadcasting, journalism or publishing.

You might also decide to continue on to a Masters course, such as our:

Industry links

We work with employers to make sure you graduate with the knowledge, skills and abilities they need. They help us review what we teach and how we teach it – and they offer hands-on, practical opportunities to learn through work-based projects, internships or placements.

Our links with local and national organisations will help you make contacts and find work placements in the industry. Our recent students have undertaken work experience with Cambridge University Press Cambridge Arts Picturehouse, Cambridge Film Festival, ITN, London Weekend Television, BBC, CBBC, MTV, Zenith Productions, Pinewood Studios, Sequence Post production, Sight and Sound magazine, London Studios and the New York Film Academy, among others.

We host employability events that bring together professionals and practitioners from a variety of writing and film-related disciplines. You can also seek advice on your writing from our Royal Literary Fund fellows.

Find out more about our placements and work experience, or the faculty's employability support.

Modules & assessment

Level 3 (foundation year)

  • Foundation in Humanities, English, Media, Social Sciences and Education
    This module will provide students with the necessary skills to begin studying at level 4 in courses related to the humanities, social sciences, English, media and education. Students will be introduced to the core skills necessary to succeed in higher education, including thinking critically, researching, and referencing appropriately, demonstrating appropriate numeracy and ICT skills, and communicating effectively verbally and in writing. In addition to these fundamental study skills, Students will be given an introduction to a broad range of disciplines whose skills and theories are widely applicable. Students will study a variety of writing styles in order to recognise, deconstruct and replicate various forms of persuasive, analytical, and informative writing. Students will learn the basics of intercultural studies and how these theories can be applied to real-world problems. Students will consider social perceptions held across western cultures, and the difference between social and self-perception, participating in structured discussion and argument. Students will be introduced to the core principles of psychology and will explore various current applications of psychological theory. Students will also be introduced to ethics and will learn about some of the key theories and thinkers in the development of current ethical considerations in a range of scenarios. This module is made up of the following eight constituent elements: Interactive Learning Skills and Communication (ILSC); Information Communication Technology (ICT); Critical Thinking; Intercultural Studies; Psychology; Composition and Style; Ethics; Social Perceptions.

Year one, core modules

  • Film Language and Concepts
    This module will introduce you to visual film analysis and key concepts of interpretation. You will undertake visual film analysis, looking closely at how cinematography, sound, editing and mise-en-scène work together to produce the emotional and intellectual viewing experience. We will also explore key concepts in film theory, for example, auteurism, genre, star studies, reception studies, feminism, Marxism, psychoanalysis, queer theory, semiotics and critical race theory. This module will enhance your ability to meet professional and employment expectations, such as clear communication, and the ability to work independently and to meet deadlines. It will also address ethical values, encouraging you to address issues of diversity and inclusiveness and learn to read texts critically. Your assessment will consist of a portfolio of written work, including shot analyses and textual analyses (a total of 6,000 words).
  • Creative Moving Image
    This practice-based module will introduce you to film and the moving image through a series of briefs and exercises that investigate a number of principles regarding the language, conventions and aesthetic possibilities of film and the moving image. The range of projects will encompass the investigation of various principles – composition and lighting, shot/reverse-shot sequences, matching on action, graphic matching, continuity editing, synch/non-synch sound, and the rhythmic editing of picture and sound – which are central to many film and moving image practices. The purpose and outcome for each project brief is not necessarily aimed at you perfecting conventions; experimenting and gaining an understanding of how they work are just as significant. In the later part of the module, you will make a film in creative response to codes and conventions explored in the first part of the module. No prior technical experience of filmmaking is required. The module will incorporate inductions in: camera operation, sound recording, editing and the potential of online platforms. Your practical workshops will be complemented by screenings of a range of complementary film and moving image works spanning narrative fiction, documentary and experimental work. In the process of pre-production and planning, you will be encouraged to develop and practise methods of visualising and notating ideas. You will regularly present work in critical forums to get feedback from your peers and tutors. Your first assessment point will involve submitting a portfolio that incorporates a compilation of the exercises you have undertaken in the first half of the module alongside pre-production research for your final film. The second assessment point will involve you presenting and submitting a 3–5 minute video.
  • Introduction to Imaginative Writing
    The module will introduce you to techniques for developing and sustaining creative writing and show you how to practice these techniques in your own short fiction, poetry and dramatic writing. There will be an emphasis on analysing imaginative texts to understand what makes them effective for different audiences and on practical writing exercises. Your practical work will address the processes, content, structure and formal features of imaginative writing genres. You will be given guidance on making use of journals and notebooks, on reading widely to inform creative writing practice and on engaging in constructive criticism. As the module progresses, you will explore the special techniques and conventions of writing short fiction, poetry and dramatic writing. Using critical skills developed through wide reading and from workshop analysis, you will re-draft your own work and produce a critical commentary evaluating the creative processes that you have pursued, analysing specific techniques used in your portfolio of imaginative writing, and identifying areas for future development.
  • Screenwriting: The Short Film
    This module will equip you with the skill base to make an entry level submission to the industry, both in schemes for new writers and relevant competitions. You will be expected to develop your own original idea for a short film. To this end it is vital that you acquire a real understanding of the form. The first half of the course will be spent analysing a range of short films to understand how story ideas are generated and developed into a workable template. You will then progress onto developing your own original idea in second half of the course, producing a short treatment and a script plus supporting material for a short film of between 3-5 mins. Your final submission will be divided between an analysis of a short film shown on the module plus the creative practice component.
  • Fundamentals of Publishing
    The literary texts you study on your English Literature and Creative Writing modules are inevitably shaped by the publishing process. This module will introduce you to publishing in the 21st century. You will explore the complex and rapidly changing role of publishing in defining what a text is and how and in what form and for what price that text will reach readers. You will use Darnton’s Communication Circuit as a model through which to examine the cycle of interdependent players in content development, distribution, and consumption. Through weekly seminars, the module will incorporate fundamental elements of theory, economics, law, and professional practice. You will interrogate the ways in which specific publishing contexts enable, or constrain, writers, editors, distributors and readers at different times. The module will serve as a foundation if you want to take History of the Book (level 5) and Publishing in Practice (level 6). Ultimately, you may continue to a career and/or graduate study in Publishing (level 7 and research degrees). Your final assessment will be a written assignment on an aspect of publishing studied on the module.

Year two, core modules

  • Writing Short Fiction
    In this module you’ll learn the tools of effective short fiction writing, beginning with the literary short story and moving on to explore short fiction for younger readers and some areas of genre fiction. You will understand the scope and the conventions of short fiction in English through analysis of a diverse range of classic and contemporary examples. You’ll look at the creative process from the collection of ideas at the notebook stage to the production and editing of a finished narrative, and you will engage in this process by maintaining a reading journal and writer's notebook where responses to literature that is read, and created, are recorded.
  • 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.
  • 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.
  • Writing for the Stage
    This intensive reading and writing module will introduce you to the techniques and conventions of dramatic writing, with an emphasis on writing for stage performance. You'll study the skills and knowledge required to create effective performance texts through a combination of reading, critical analysis of diverse examples from the genre, practical writing exercises and readings of students' own work in progress. You'll also explore elements of dramatic writing such as monologue, dialogue, narrative, character and physical and vocal connection, learning the conventions of presentation for dramatic texts. In later sessions, you'll workshop sustained pieces of dramatic writing, confronting the challenges of audience and staging. Your finished dramatic text will be assessed in the form of a ten-minute script. You must also submit a critical commentary addressing specific aspects of the writing process, including questions of staging.

Year two, optional modules

  • 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.
  • 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.
  • Film Criticism and Reviewing
    This module will give you training and experience in writing film reviews within a professional context. You will begin by exploring the nature and purpose of reviewing films, and consider the impact and influence of film reviewers on notions of taste and cultural and social value. You will then work through the professional practices of the reviewing process. You will gain experience in writing reviews for a variety of different readerships, across a range of print and digital formats. The seminars will illustrate review philosophies; planning and structuring of reviews; tailoring the review according to a brief; keeping film diaries; and developing your own personal writing style. You will share and develop ideas in small peer groups, with regular feedback from the module tutor. You will also have the opportunity to review films in a live context, through our links with Cambridge Arts Picturehouse and Take One magazine. You will also be encouraged to keep a film diary and to write reviews for the student-led Ruskin Journal. Over the course of the module, you will develop a portfolio of reviews in a variety of styles and formats and for a range of readerships, which will form the basis of your summative assessment. You will also produce a critical commentary and evaluation of your development and working practices on the module as part of your summative assessment.
  • 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 film-makers, 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.
  • 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.
  • From 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.
  • Writing Historical Fiction
    On this module, you'll study the skills and techniques needed to create successful historical fiction for a range of media (prose, TV, film radio, and other). You'll consider the issues which arise while trying to create a fictional 'historical past', and experiment with different techniques of conjuring the past, with reference to place, voice, character, food, manners and mores. You'll also consider the needs of different audiences and different platforms from the demands of a staged or radio play through to the differences between the scope of a short story and novel. Your assessment will be a 2,000-word piece of fiction (for any media or platform), and an accompanying 1,000-word critical portfolio.
  • 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.

Year three, core modules

  • Major Project Writing
    This module is compulsory for all students studying Writing as a single subject and optional for those taking Writing in combination with another subject. you will be expected to work independently, with guidance from an approved adviser or mentor, to produce a longer piece of writing or coherent set of shorter pieces. This may be in any genre, including imaginative writing, creative non-fiction or professional writing, provided that a suitable consultant can be found to support the project. Approval may also be given for a major editorial project, for example leadership of the university writers magazine. Three seminar sessions will support you through the main stages of your project, enabling you to review strategies and content. A maximum of 4 hours individual consultation time is available to each student in addition to the seminars. Arrangements for consultation meetings are the responsibility of the individual student. Work towards the final project consists of four overlapping stages: reading and research (including consideration of audience) resulting in project proposal; drafting (with further reading and research as necessary); editing, re-drafting and more specific audience engagement; reflection and critical evaluation. Your work towards these stages will be reviewed in the seminar sessions. You will need to produce a proposal accompanied by extracts from your reading journal at an early stage in the project. You will submit this directly to your individual supervisor, and it will not be formally assessed.


  • Major Project in Film Practice
    This module will allow you to undertake a self-directed major project in film practice, which should draw on the strengths of your work in the module “Experiments in Film and Moving Image Practice” and your Level 5 film practice modules. This will be an opportunity for you to develop and hone a particular approach to filmmaking, whether in the context of narrative drama, documentary or an experimental mode. You will also be asked to reflect on and discuss the wider context of their practice. The first part of the module will comprise sessions that involve project proposals, the development of pre- production work and the practical testing of creative filmmaking ideas. The middle and latter part of the module will involve you presenting work-in-progress to tutors and your peers and developing a frame of reference for your project. The module concludes with you presenting your finished films, in a professional manner, at a screening that will involve comments and feedback from staff and students from across the Film and Media discipline. In addition to producing a substantial self-directed film project, you will also submit a commentary and evaluation that outlines your intentions, describes the formative features of your work and addresses the context and precedents that situate it.
  • Writing Poetry
    In this module you’ll gain the technical skills required in the writing of poetry by facilitating a flexible use of traditional forms and rhythms. You’ll look at contemporary and modern poetry and explore important developments in technique and learn to appreciate the benefits of close reading to open up possibilities for language use. Seminar workshops focus on reading poetry and on creative exercises, aimed at helping to develop sophisticated approaches to the relationship between form and content.
  • 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.

Year three, optional modules

  • Scriptwriting: Multi Platform Storytelling
    This module will introduce you to the scope and conventions of scriptwriting across four forms – film, television, radio and gaming – through analysis of a diverse range of classic and contemporary examples. You'll examine the creative process and engage in this process by maintaining a reading journal and writer's notebook. Your writing exercises will focus on practical writing techniques such as writing an effective treatment or outline, and exploring the different techniques needed for different broadcast mediums. For assessment, you'll submit the best work you produce at the end of the year, along with a critical essay, that'll include a contribution to your Personal Development Planning file.
  • Special Topics in Film Studies
    This module will give you the opportunity to study a topic that will be taught by a member of staff whose particular academic interests and/or research is reflected in that 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, and topics will be communicated prior to module choice. There will be no formal lectures - the module will be taught in seminars in which you will take part in group discussions.
  • Screenwriting: Writing and Selling the Feature Film
    This module will builds on the skills you acquire in Screenwriting: The Short Film at level 4 and From Script to Screen at level 5. Through small group work and discussion with the seminar leader, you will develop an original screenplay idea. The module will cover basic narrative conventions, including the role of conflict, the line of action and plot reversals, character building, and atmosphere. You will experiment with the representation of place, space and time, and build in subplots when appropriate. You will be expected to consider your target audience, and will have the opportunity to explore the role of genre as a means of making narrative choices. You will produce a portfolio including the first act of a screenplay with evidence of analytical story structure skills. You will work toward a feature film ‘treatment’ as the major element for submission.
  • Experiments in Film and Moving Image
    This module is built around several workshops that will allow you to explore a range of experimental approaches to filmmaking and the moving image. An indicative list of workshops includes: multi-screen filmmaking; the moving image in-situ, live performance with film; single-frame filmmaking; working with found footage and experiments in soundtrack recording. Each workshop will involve a concise, advanced technical induction; an introduction to a range of associated film and video works; a short period of time to undertake the project; and a discussion of the work produced. In the latter part of the module, you will propose, develop and produce a project following the premises and lines of enquiry suggested by one of the earlier workshops. You will show and discuss the development of your project during individual tutorials and wider work-in-progress sessions. You can work individually or in small groups. On completion, you will attend a screening and critique of the work produced. In addition to the film project, you will also submit a commentary and evaluation that outlines your intentions and describes the formative features and processes you undertook in producing the work.
  • Professional Practice in Film
    This module will introduce you to key areas of professional practice in film, with a view to preparing you for entry to a specific range of film-related careers. You will identify and reflect on the skills and knowledge you are gaining on your degree, and explore how these map onto careers in film and related industries. Visiting guest lecturers and alumni will give you hands-on guidance and a more detailed working knowledge of industry processes and practices, as well as setting projects for you to undertake. You will also have the opportunity to incorporate a range of ‘live’ projects and work placement opportunities as part of your work on the module. At the end of the semester, you will produce a project portfolio in one of the professional areas introduced on the module, along with a critical reflection on skills development.
  • Experimental Cinema
    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.
  • 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.
  • 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).
  • Writing Speculative Fiction
    In this module you will be introduced to the craft of writing speculative fiction, including fantasy and science fiction. You will ask questions about what it means to write within a genre, whether the lines between genres are clear cut or blurred, and reflect upon what this means specifically for the writer of speculative fiction. You will be introduced to the specific difficulties faced by the writer of speculative, including how to build convincing worlds; how to invent convincing histories, literatures, and societies; how to avoid cliché in the writing and creation of unreal places; and how writers of speculative fiction map, explore, populate, and imagine fully their unreal worlds. You will be required to produce a portfolio of creative writing, and a critical commentary reflecting upon aspects of writing speculative fiction.

Optional modules available in years two and three

  • Anglia Language Programme
    The Anglia Language Programme module will allow you to study a foreign language as part of your course. You may choose to take two language modules in place of options on your course from the second semester of your first year, or in the second or third year. You can choose from the following: Chinese (Mandarin), French, German, Italian, Japanese, or Spanish. In order to experience the learning of a new language, you must select one that you have not learned before.


Modules are subject to change and availability.

You’ll show your progress through many methods, reflecting the varied nature of the course. These will include writing portfolios, critical commentaries, presentations, journals and log books, critical essays, film reviews and analyses, internet, print and video production, and commissions. You’ll also take part in 'crits', in which you’ll present and defend your work.

Each year you’ll prepare a Personal Development Portfolio, which includes a CV and personal statement. This will give you the chance to reflect on your progress to date, the skills you’ve developed and any extracurricular activities that will help you when looking for work. 

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?

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

Specialist facilities

You’ll be able to use our industry-standard film equipment including Super 8 Nizo cameras, 16mm Bolex film cameras and a number of rostrums for traditional animation, and digital facilities featuring Panasonic and JVC HD cameras and a suite of Macs with Final Cut Pro software.

Cultural activities and events

We organise and attend many extra-curricular activities, including an annual three-day trip to Stratford-upon-Avon, Film Festivals such as Cambridge and Watersprite, poetry and writing evenings, and research symposia and conferences. You’ll also be able to join student societies, such as the Poetry Society, the Film Viewing Society and the Harry Potter Society, which organise their own events.

Study abroad

You can study abroad for one semester, and apply for funding to help cover the cost

Fees & funding

Course fees

UK & EU students starting 2020/21 (per year)


International students starting 2020/21 (per year)


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

UK and EU students 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

International students

You can pay your tuition fees upfront, in full or in two instalments. We will also ask you for a deposit of £4,000 or a sponsorship letter. Details will be in your offer letter.

Paying your fees


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

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

Whether you're studying entirely online or through a blend of on-campus and online learning in September 2020, you'll need a computer and reliable internet access to successfully engage with your course. A small number of our courses require additional technical specifications or specialist materials. Before starting the course, we recommend that you check our technical requirements for online learning. Our website also has general information for new students about starting university in September 2020.

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.

Whether you're studying entirely online or through a blend of face-to-face and online learning in September 2020, you'll need a computer and reliable internet access to successfully engage with your course. Before starting the course, we recommend that you check our technical requirements for online learning.

English language requirements

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