Film is the most important mass medium and art form of modern times. Shaping our modes of perception and communication, it is popular in its appeal and radical in its practices. It has transformed our ways of seeing and storytelling. Film-making and criticism is an area of immense interest, pleasure, and creativity. Supported by state-of-the-art film teaching and production facilities, the MA in Film at Queen's aims to offer a rich, diverse curriculum designed to enable students to specialise in practice-based and critical approaches to film, and other media arts.
In particular, students will develop skills in the analysis of film and media arts and apply these skills in the production of creative projects, and critical work. Throughout the programme, students will acquire basic or enhanced film production skills. They will also acquire transferable skills valued by employers: creative thinking, verbal and visual communication, problem solving, project management, and teamwork.
Film highlights
World Class Facilities
State-of-the-art digital production and post-production facilities, as well as substantial lighting and grips kits, and a purpose-built 'black box', giving students the opportunity to film in a multi-purpose, professionally equipped studio.
Industry Links
Strong contacts with the local film and broadcast industry, enabling us to organise regular meetings with industry professionals, workshops for students interested in a career in film and the creative industries.
Professional Accreditations
We are an Avid Learning Partner, and Film students are offered the opportunity to become certified in the use of Media Composer video editing, an industry qualification and valuable addition to any CV.
World Class Facilities
Screenings, lectures, and seminars are held in Screen 2 of the Drama and Film Centre - the newly refurbished cinema we share with Northern Ireland's leading independent cinema, the Queen's Film Theatre (QFT).
Student Testimonials
‘The Masters contained an invaluable balance between academic studies and film production. I was involved in making four films over the course duration, which was a huge attraction for me. This allowed for deeper learning through applied practice, collaborations, and producing a body of work that has permitted me to enter the workplace with an advantage. Most of all, the Masters gave me confidence, energy, and an array of transferable skills that I will take into all future endeavours.’
Chris Molloy won an Anjool Maldé Award for his film ‘The Quiet, Uncredited Photographer’, produced in the module Experimental Filmmaking. He graduated in December 2023.
'Through a range of well-structured modules, the MA in Film has allowed me to explore cinema history, film culture and theory, and to develop my screenwriting skills. Lecturers have displayed a passion for their subjects, offering support and inspiration throughout the process. Overall, the MA has been a challenging and enriching experience. The course has opened up new avenues of enquiry that continue to complement my ongoing creative work.’
Ann Donnelly graduated from the MA in Film in July 2020.
'As a non-native speaker of English, this MA was a great opportunity for me to improve my language and writing skills. The theoretical aspects of the course enabled me to deepen my understanding and knowledge, while writing about aspects of cinema history and filmmaking I would probably not have encountered otherwise. The course also has a very challenging practical strand that encouraged me to experiment with new ways of filmmaking.'
Soléne Guichard completed the MA in Film in 2016, and her short film, Pictures of Me, was selected for the 2016 Los Angeles Cinefest short film festival.
For full-time students the MA Film degree runs from September to September, with graduation normally in December. Full-time students complete a total of three modules per semester (60 credits).
In semester one, full-time students take FLM7018 Research Skills in Film I (compulsory), plus two optional modules.
In semester two, full-time students take FLM7019 Research Skills in Film II (compulsory), plus two optional modules.
The FLM7005 SUM Dissertation module is taken in the summer (June to September). To be awarded the MA degree, students must achieve a pass mark in 120 taught module credits and the 60-credit Dissertation module. The Dissertation module includes the major creative project as one option.
In summary, the MA in Film degree for full-time students consists of the following:
Semester one:
FLM7018 Research Skills in Film I (compulsory)
Plus two additional modules
Semester two:
FLM7019 Research Skills in Film II (compulsory)
Plus two additional modules
Summer (June to September):
FLM7005 SUM Dissertation (compulsory, 60 credits).
The major creative project is offered as one option within the Dissertation module.
Part-time students:
Part-time students may complete the MA Film degree in two or three years. For part-time students, FLM7018 must be completed in year one, and FLM7019 in year two. Part-time students take three modules per year (60 credits per year), followed by the Dissertation module (60 credit module). The Dissertation may be completed in the summer of year two (for those pursuing the degree in two years) or in an additional third year. To be awarded the MA degree, students must achieve a pass mark in 120 taught module credits and the 60-credit Dissertation module. The Dissertation includes the major creative project as one option.
In summary, the MA in Film degree for part-time students consists of the following:
Year one:
FLM7018 Research Skills in Film I (compulsory)
and two additional modules.
Year two:
FLM7019 Research Skills in Film II (compulsory)
and two additional modules.
For part-time students, FLM7005 Dissertation (60 credits) is taken the summer of year two (FLM7005 SUM), or in a third year (FLM7005 FYR).
Exit qualifications are available: Students may exit with a Postgraduate Certificate by successfully completing 60 credits of taught modules, including FLM7018. Students may exit with a Postgraduate Diploma by successfully completing 120 CATS points from taught modules.
Compulsory Modules
FLM7018 Research Skills in Film I (20 credits, compulsory)
FLM7019 Research Skills in Film II (20 credits, compulsory)
FLM7005 SUM Dissertation or FLM7005 FYR Dissertation (60 credits, compulsory).
Module content:
FLM7018 and FLM7019 enhance key skills in areas including academic writing, referencing, research processes, and audiovisual practices. The two modules explore key concepts in filmmaking, and methodologies in film studies research, including practice as research.
An important aspect of FLM7019 involves developing a proposal for the dissertation.
For FLM7005 Dissertation (60 credits), students work independently to develop and realise a substantial research project, with the guidance of an assigned supervisor. This may take the form of a traditional written dissertation, a short film with reflective essay, or a screenplay with reflective essay, in accordance with the requirements specified for the module.
Optional Modules
Modules are subject to change. Not all modules will be available every year.
FLM7008 Film Practice
FLM7010 Screenwriting
FLM7012 Political Film: Form and Conflict
FLM7013 European Film Industries and Digital Cultures
FLM7016 Avant-Garde and Experimental Filmmaking
FLM7017 Censorship, Regulation and Audiences
FLM7020 The Film Soundtrack.
FLM7021 Global Film Cultures
Module descriptions:
FLM7008 Film Practice (20 credits; creative practice)
This is a practice-based course on the methods, processes and creative competencies involved in the development of a film project. The emphasis in the module is on the combination of theory and practice within a workshop setting to develop project ideas into a coherent form that can be successfully researched, shot, edited and exhibited. Accordingly, the course uses different modes of teaching and learning which are designed to complement each other in order to develop skills and awareness of the development and management of film projects in preparation for production.
FLM7010 Screenwriting (20 credits; creative practice)
This is a practice-based course covering the methods, processes and research techniques involved in the development of a screenplay, with a particular focus on the short film format. The course uses different modes of teaching and learning which are designed to complement each other in order to develop skills and awareness of the writing process. Students are encouraged and enabled to develop material through a series of writing exercises and assignments. Moreover, they are introduced to different approaches, formulae and guiding principles recommended for successful screenwriting. Class time involves workshops, screenings and script analyses. Students will explore the conceptual and practical aspects of screenplay writing underpinned by in-depth class discussion and feedback. As well as contributing to discussions during class, students are expected to support their colleagues by offering constructive critiques of each other’s work as well as by actively participating in script readings and workshops as the semester goes on.
FLM7012: Political Film: Form and Conflict (20 credits)
In tracing the relations between film and political conflict, this module examines how images – representations – of society have competed for significance at different historical moments, from the revolutionary experiments of the early twentieth century to the radical counter-cultures 1960s, and beyond. Throughout the module students study a range of international films, addressing such questions as: How has film language been extended and transformed by the pressure of contemporary political commitments and social circumstances? How effective are different approaches to political filmmaking (propagandistic, realistic, allegorical, satirical, essayistic, avant-garde, etc.)? Is it ever possible for filmmakers to articulate an authentically radical – dissident, even – political vision by means of conventional and essentially conservative film forms? Does a corrupt polity or repressive state necessarily discredit films made under its influence, or auspices? How important are filmmaking groups or collectives to the ideological integrity of political cinema? How important is the distribution history of a particular film to an assessment of its political significance? What does it mean to make films politically?
FLM7013: European Film Industries and Digital Cultures (20 credits)
This module aims to introduce students to the various practices of film industry through a specific focus on European cinema. Methods and theories supporting the critical study of media industries through a series of case studies covering such topics as the marketing, critical reception, distribution and exhibition of films, looking in particular at the impact of digitalisation. In doing so, the course will also cover theories of national and transnational cinemas, globalisation, marketing and production studies. Students on this module will engage with theorisations of the production, promotion circulation and reception of cinema, and will be required to analyse both theoretical texts and primary source materials in order to gain fuller understanding of these topics.
This module also provides an overview of the methodological issues involved in the actual practice of carrying out research projects on the topics discussed. Students will learn about the various industrial approaches to understanding films and filmmakers, and gain the study skills necessary to conduct their own research project.
FLM7016 Avant-Garde and Experimental Filmmaking (20 credits; creative practice)
This module is intended to develop students’ creative skills and conceptual understanding of experimental filmmaking. The class is built around the development and production of a short experimental film.
We’ll begin by exploring how we can characterise or define experimental film. We will then consider important historical forms of experimental film, which may include essay, lyrical, and/or landscape films, looking closely at examples. By understanding the ideas, approaches and techniques of filmmakers working in these forms, we will seek to extend and develop our own filmmaking practices, and formulate a project for production in class. After this, we will focus on particular areas of moving image practice, including image making and sound recording, and develop our craft skills in these areas as appropriate. An important aspect of the class will be presenting and discussing student work.
FLM7017 Censorship, Regulation and Audiences (20 credits)
This module will introduce students to the various practices of audience and reception studies, and the debates surrounding film censorship and the regulation of cinema. It will explore how film censorship works both as a concept and in practice. It will use controversial examples to explore representation of different taboos including sex, violence, religion and language. In doing so it will also pay significant attention to the role of the audience; it will explore how audience responses to specific films change over time, how liberalising trends in society affect responses to cinema, and the framework of regulation which limits or controls access to particular films. Related topics which will be explored include art house cinema audiences, fandom, cult cinema and spectatorship. Additionally, the practices and methods of conducting audience research will be explored to consider how such research can help us to understand the experiences of viewing and to help us better understand the relationship between audience members and film texts. This module provides an overview of the methodological issues involved in the actual practice of carrying out research projects on the topics discussed. Students will gain the study skills necessary to conduct their own audience research project, as well as gaining presentation skills experience.
FLM7020 The Film Soundtrack (20 credits)
This module serves as a guide to the film soundtrack offering a critical overview of its history, technical processes, aesthetics and key theoretical approaches in order to elucidate its expressive and narrative potential. In addition to delineating the processes of production and post-production, it explores the nuances of the film soundtrack, examining how its various elements such as dialogue, sound effects, foley sound, environmental recordings, soundscapes and music coalesce to form a complex audiovisual relationship with the image. Further to this, it will also explore key scholarly approaches to film sound in order to enhance critical understanding of film.
FLM7021 Global Film Cultures (20 credits)
This module explores a range of film cultures, their engagement with global dynamics and how cinema produces plural modes of imagining the world. The module is divided into two parts. The first part emphasises filmmaking in the context of globalisation, aesthetic trends and the spaces where audiences encounter and consume cinema. The second part focuses on how different film cultures nurture and challenge imaginations about the world to address contemporary global challenges, such as transnational migration and the environmental emergency. The module considers a range of film forms, practices and genres, which are contextualised alongside the ideas of globalisation, world cinema, cosmopolitanism, decoloniality and post-humanism. It equips students with relevant critical approaches and theoretical frameworks to analyse contemporary film cultures. Case studies may vary each semester, and students are expected to engage with cinematographies beyond US production and European cinema.
Morning, Afternoon and Evening. Part Time mode of study is over two or three academic years.
Learning and Teaching
Each module involves a weekly session of two to four hours, consisting of a mixture of lectures, seminars, workshops, and/or screenings.
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Assessment
Assessments associated with the course are outlined below:
Written assignments
Presentations
Reports
Practice-based exercises and projects
Dissertation: students may choose to undertake a 15,000 word dissertation; or a short film with accompanying essay; or a screenplay with an accompanying essay; or an alternative creative project agreed with programme convenor and designated supervisor, with an accompanying essay. Written dissertations, creative projects and accompanying essays must be in accordance with the parameters specified for the FLM7005 module, including wordcounts.
The information below is intended as an example only, featuring module details for the current year of study (2024/25). Modules are reviewed on an annual basis and may be subject to future changes – revised details will be published through Programme Specifications ahead of each academic year.
Provide student with opportunity to undertake extended piece of individual research on aspects of film studies. Provide broad appreciation of a range of possible research methods.
Skills
Organise, synthesise and present material. Time management. Enhanced bibliographical and research skills.
FLM7018 Learning Outcomes:
*An understanding of key practices in cinematography, editing, and sound. *The ability to write concisely and employ adequate referencing of both scholarly and non-scholarly material within their work.
* The ability to apply research and analytical skills to all assignments at MA level.
* A critical understanding of key debates in film studies and practice.
* An understanding of career opportunities in film studies and practice.
Skills
*The ability to write concisely and employ adequate referencing of both scholarly and non-scholarly material within their work.
* Writing and project development skills appropriate to the level.
* Basic camera, sound and editing skills for studio and location use. Directing for documentary and drama.
FLM7019 Learning Outcomes:
* A capacity to understand and critique a diverse range of research methods and approaches in Film Studies and Practice.
* An appreciation of the array of interpretative tools that are employed to advance scholarship in Film Studies and Practice.
* An advanced understanding of how method and approach inform and shape perspectives in Film Studies and Practice.
* A closer sense of Film's place in and contribution to the pursuit of knowledge.
* Acquiring a capacity to employ a practice as research approach to your creative work.
* Developing an understanding of the role and purpose of an MA Dissertation.
* Developing a good knowledge and understanding of the relations between film production, policy and work.
* Engaging with a variety of sources pertinent to Film Studies research.
Skills
* The ability to contextualise and evaluate your written and practice-based work within a variety of critical perspectives;
* The ability to work autonomously, manifested in self-direction, self-discipline, effective use of technical resources and good time-management
* Improved understanding of the visual, audio and verbal conventions through which images, sounds and words make meaning;
* Advanced writing and organisational skills for film projects;
* Advanced written, oral communication and presentation skills
This module will introduce students to the importance of the various practices of the film industry through a specific focus on European cinema. This module will explore crucial issues beyond the film text itself, through a series of case studies covering such topics as the marketing, critical reception, censorship, distribution and exhibition of films, and will also cover theories of authorship, national cinemas, globalisation, and reception studies. Students on this module will engage with theorisations of the production, promotion, circulation and reception of cinema, and will be required to analyse both theoretical texts and primary source materials in order to gain a fuller understanding of these topics. This module will also introduce students to methodological issues involved in the actual practice of carrying out research projects on these topics. Students will not only learn about the various industrial approaches to understanding films and filmmakers, but gain the study skills necessary to conduct their own research project: a single-film or single-director case study exploring one (or more) of the issues covered on this module. Students will leave this module with a clear understanding of how the various practices and processes of a film’s release and reception are discussed both critically and academically, and will gain a wider perspective on the numerous and often overlooked concerns facing filmmakers today.
Learning Outcomes
By the end of the module students should be able to: demonstrate a clear understanding of a variety of film industry practices across different national cinemas and genres, and the critical approaches to these practices; demonstrate advanced skills in the critical analysis of various aspects of several national film industries, and the ability to assess and analyse academic and industrial debates over these topics; apply theoretical debates to the analysis of primary materials and cultural objects related to various national film industries; plan and conduct a research project which engages with one of the topics covered on this unit, and present written work of a high quality; demonstrate enhanced generic skills in written and oral communication, the process of research, the organisation of material, and the presentation of informed critical arguments that relate to relevant issues and debates.
Skills
Critical thinking skills.
Analytical skills.
Skills of rhetoric and argumentation.
Presentation skills.
General written/verbal/visual communication skills.
This course will explore censorship, film regulation and audiences within British Cinema. It will use a variety of historical and contemporary case studies to explore the legislative and industrial frameworks, which shape practices of film censorship and the critical and cultural debates which surround discussions of the regulation of cinema.
It will look at local example of film censorship to examine the hierarchies of power at work in exhibition and regulation of film and cinema. It will also examine the role played by audiences in determining what will and what will not be shown. Case studies may include Last Tango in Paris, The Exorcist. The Devils, The Life of Brian, The Hunger Games, Casino Royale.
Learning Outcomes
• demonstrate advanced skills in the critical analysis of various aspects of several national film industries and their classification systems.
• Explore notions of censorship and regulation at national and local level
• To consider the broader debates which take place within the national and global press about censorship of cinema
• plan and conduct an original research project which engages with the topics covered on this unit, and present written work of a high quality
• demonstrate enhanced generic skills in written and oral communication, the process of research, the organisation of material, and the presentation of informed critical arguments that relate to relevant issues and debates.
Skills
- skills of analysis and critical engagement
- advanced level research skills
- ability to explore conceptual debates
- specific knowledge of the processes of censorship and regulation
This module examines the relations between cinema and political conflict, with a particular emphasis on how film language has been adapted and transformed by the ideological demands of events, and their aftermath. It looks at classic examples of political filmmaking, as well as examining the relationship between artistic modernism and political dissidence in the work of figures such as Segei Eisenstein, Esfir Shub, Roberto Rossellini, Jean-Marie Straub and Danièle Huillet, Luis Buñuel, Agnès Varda, Gillo Pontecorvo, Frederick Wiseman, Jean-Luc Godard, Chris Marker, Chantal Akerman, and Glauber Rocha. The module also looks at the how the cinema has been influenced by other visual representations of political conflict, and how this relates to new forms and technologies of political filmmaking in the contemporary world.
Learning Outcomes
Upon successful completion of the module, students should be able to demonstrate:
1) the ability to analyse in depth the aesthetic and cultural relations between film language and political conflict;
2) a clear understanding of the various critical approaches to the relationship between political conflict and film-making;
3) a detailed understanding of the role of film in conflict and post-conflict societies, with particular emphasis on issues such as propaganda, neo-realism, Third Cinema, film and political modernism, revolution, and testimony.
4) a critical and comparative understanding of the film-maker as political activist, and the role of cinema and the visual arts more generally in representing conflict.
Skills
1) Critical thinking skills
2) Analytical skills
3) Skills of rhetoric and argumentation
4) Presentation skills
5) Written, verbal, and visual communication skills
This module will introduce historical forms of avant-garde and experimental filmmaking and use them as the basis for creative practice. Video production will be used as a mode for conceptual exploration and personal expression.
Learning Outcomes
1. An increased awareness and understanding of experimental forms of film, and associated fields, along with key practitioners and theories in the field.
2. An increased understanding of the qualities of the moving image medium and some theories of this.
3. An increased ability to formulate an experimental video work that serves to investigate ideas and/or as a form of personal expression.
4. An increased ability to conceive and control aesthetics aspects of a project (image, sound, structure and so on).
Skills
1. Analytical skills are developed during project development and other stages. Students must develop a method to express or investigate ideas through creative work.
2. Students must assess the coherence and sophistication of their creative ideas at these stages and find appropriate ways to develop these ideas in light of this.
3. Skills of rhetoric and argumentation are developed through the written work and in class discussions.
4. Oral communication and presentation skills are developed through production process and in discussions.
5. Technical skills in the use of cameras and editing software are developed during the production process and in training workshops
6. Organisation skills and problem-solving abilities are developed during planning and production periods.
The Course teaches students to develop writing skills across a range of formats and screenwriting practices and provides a challenging and supportive arena in which work can be critiqued and workshopped. Through a combination of lectures, screening and workshops, students explore different ways of generating and researching ideas, along with different approaches to genre, dramatic structure, characterization, point of view etc.
Learning Outcomes
On completing the Course the student willmhave a grasp of the stages of screenplay development, have an increased awareness of the role of the script in the overall production process, have explored different ways of generating and researching ideas and be familiar with a range of genres, have an understanding of different approaches to structure and characterization and have completed a short (up to 30 minute) screenplay developed during the Course.
Skills
On completing the Course, the student will be able to develop a screenplay from premise to final draft stage. In addition, the student will be able to employ a number of strategies in terms of approaching widely different forms of writing for film.
This course builds on the practice elements explored in FLM7006 Research Methods to: \n\na) develop student competences in the following areas: basic videography/ cinematography, script development, direction, dramaturgy, postproduction\n\nb) provide a critical and creative support for individual and group moving image projects being developed by students.\n\nStudents undertake a number of technical workshops and exercises, produce a mini-project and have a series of tutorials to assist them in the development of their project ideas.
Learning Outcomes
Familiarity with basic film production processes and their application to documentary, experimental and fiction practice \nAcquisition of competence in basic videography/cinematography and editing\nAcquisition of ability to undertake and manage a create film project\nDeveloped skills in relating critical theory and creative film practice \nEnhanced capacity for critical assessment of one's work including contextualizing this within contemporary moving image practice and critical debate
Skills
Effective use of digital video camera for basic videography\nEffective use of Final Cut Pro for image manipulation\nProject development and scripting skills\nCritical skills in self assessment of creative work
Normally a strong 2.2 Honours degree (with minimum of 55%) or equivalent qualification acceptable to the University in Arts, Humanities, Social Sciences or a cognate discipline.
A 2.2 Honours degree below 55% (or equivalent qualification acceptable to the University) may be considered if an applicant can demonstrate recent professional/exhibition experience in filmmaking, photography, or video arts, subject to portfolio submission and interview.
Applicants are advised to apply as early as possible and ideally no later than 15th August 2025 for courses which commence in late September. In the event that any programme receives a high number of applications, the University reserves the right to close the application portal prior to the deadline stated on course finder. Notifications to this effect will appear on the application portal against the programme application page.
The University's Recognition of Prior Learning Policy provides guidance on the assessment of experiential learning (RPEL). Please visit the link below for more information. http://go.qub.ac.uk/RPLpolicyQUB
International Students
Our country/region pages include information on entry requirements, tuition fees, scholarships, student profiles, upcoming events and contacts for your country/region. Use the dropdown list below for specific information for your country/region.
English Language Requirements
Evidence of an IELTS* score of 6.5, with not less than 5.5 in any component, or an equivalent qualification acceptable to the University is required.
*Taken within the last 2 years.
International students wishing to apply to Queen's University Belfast (and for whom English is not their first language), must be able to demonstrate their proficiency in English in order to benefit fully from their course of study or research. Non-EEA nationals must also satisfy UK Visas and Immigration (UKVI) immigration requirements for English language for visa purposes.
If you need to improve your English language skills before you enter this degree programme, INTO Queen's University Belfast offers a range of English language courses. These intensive and flexible courses are designed to improve your English ability for admission to this degree.
Academic English: an intensive English language and study skills course for successful university study at degree level
Pre-sessional English: a short intensive academic English course for students starting a degree programme at Queen's University Belfast and who need to improve their English.
This MA programme provides a qualification and professional development opportunities ideally suited to a career in film, television and other moving-image and broadcast media. It is also popular with students intending to or already working in education, research, and the wider creative industries sector.
Recent graduates from this programme have gone on to work as freelance filmmakers, script editors, assistant producers, programme researchers, schedule coordinators, and teaching posts in Film and Moving Image Arts. http://www.qub.ac.uk/directorates/sgc/careers/
Graduate Plus/Future Ready Award for extra-curricular skills
In addition to your degree programme, at Queen's you can have the opportunity to gain wider life, academic and employability skills. For example, placements, voluntary work, clubs, societies, sports and lots more. So not only do you graduate with a degree recognised from a world leading university, you'll have practical national and international experience plus a wider exposure to life overall. We call this Graduate Plus/Future Ready Award. It's what makes studying at Queen's University Belfast special.
1EU citizens in the EU Settlement Scheme, with settled status, will be charged the NI or GB tuition fee based on where they are ordinarily resident. Students who are ROI nationals resident in GB will be charged the GB fee.
2 EU students who are ROI nationals resident in ROI are eligible for NI tuition fees.
3 EU Other students (excludes Republic of Ireland nationals living in GB, NI or ROI) are charged tuition fees in line with international fees.
All tuition fees quoted relate to a single year of study unless stated otherwise. Tuition fees will be subject to an annual inflationary increase, unless explicitly stated otherwise.
Students may incur costs attending and travelling to performances. The estimated maximum cost is £100 per year. Students may also incur some costs for props or costumes.
Students will incur some costs in producing their short films, if they pursue this option. For example, students may need to cover the costs of props or costumes. The level of costs will depend on the nature of the particular project.
Students will need to purchase a USB3 Hard Drive to store video footage for creative practice modules.
Access to the Avid Learning Central platform, which includes the AVID Media Composer course and exam, costs £95-£100 (optional; subject to change).
All Students
Depending on the programme of study, there may be extra costs which are not covered by tuition fees, which students will need to consider when planning their studies.
Students can borrow books and access online learning resources from any Queen's library. If students wish to purchase recommended texts, rather than borrow them from the University Library, prices per text can range from £30 to £100. Students should also budget between £30 to £75 per year for photocopying, memory sticks and printing charges.
Students undertaking a period of work placement or study abroad, as either a compulsory or optional part of their programme, should be aware that they will have to fund additional travel and living costs.
If a programme includes a major project or dissertation, there may be costs associated with transport, accommodation and/or materials. The amount will depend on the project chosen. There may also be additional costs for printing and binding.
Students may wish to consider purchasing an electronic device; costs will vary depending on the specification of the model chosen.
There are also additional charges for graduation ceremonies, examination resits and library fines.
How do I fund my study?
The Department for the Economy will provide a tuition fee loan of up to £6,500 per NI / EU student for postgraduate study. Tuition fee loan information.
A postgraduate loans system in the UK offers government-backed student loans of up to £11,836 for taught and research Masters courses in all subject areas (excluding Initial Teacher Education/PGCE, where undergraduate student finance is available). Criteria, eligibility, repayment and application information are available on the UK government website.
