The Film Studies and Production degree at Queen’s offers a unique blend of critical thinking and filmmaking. Students will acquire advanced knowledge and skills in digital production, screenwriting, directing, cinematography and editing, as well as developing their understanding of film and moving image and broader film culture. Classes take place in the cinemas of the Queen’s Film Theatre and our dedicated Film Studio, which features full broadcast-quality LED lighting and green screen. Students benefit from our cutting-edge digital production and post-production facilities.
Students benefit from our cutting-edge digital production facilities including offline and online editing suites and use high-definition cameras, and lighting and grip kits for location work. Across the programme practice-based learning is framed by the study of film concepts, critical contexts, and current industrial practices. This approach encourages our students to become creative and critical practitioners with highly developed audio-visual literacy. All of these skills enhance the employability of our graduates within the media and creative industries sector.
Film Studies and Production degrees at Queen's have an excellent reputation in the field, built up over twenty years.
Film Studies and Production highlights
Professional Accreditations
Accredited as Avid Authorised Learning Partner for Education, the School of Arts, English and Languages offers industry accredited certification in Media Composer and Pro Tools, both industry leading software for film editing and sound postproduction. Preparatory work for these qualifications is embedded in the coursework of certain modules. Students will have the opportunity to attend an intensive short course and must pass the final exam to obtain the qualification. https://www.avid.com/media-composer
Industry Links
Northern Ireland has one of the fastest growing creative industry sectors in the UK economy. Film production teaching is regularly carried out and supervised by tutors who are actively involved in the film and media industry, providing invaluable opportunities to learn first-hand from film and media professionals.
Global Opportunities
Queen's University Belfast is committed to providing a range of international opportunities to its students during their degree programme. Details of this provision are available through the university website.
World Class Facilities
Our Film degrees use cutting-edge digital production facilities; we have both offline and online editing suites, with software such as
Avid Media Composer, DaVinci Resolve and Pro Tools. Full high-definition cameras are available, as are substantial lighting and grip kits for location work. Practical classes are held in a dedicated Film Studio with full broadcast-quality LED lighting using electrically controlled hoists and green screen.
Film Studies lectures and screenings take place in the Queen’s Film Theatre, an art house cinema, which has been operating on campus for over 50 years. The QFT features high quality digital projectors and Dolby sound systems. https://www.qub.ac.uk/schools/ael/Discover/facilities/filmstudio/
Student Experience
We are an Authorised Avid Learning Partner for Pro Tools and Avid Media Composer, offering certified industry-approved training integrated into the degree.
Industry Links
Film at Queen’s has links with a range of independent and community-based film and media production companies (including
Stirling Film and Television Productions, Double Band, Northern Visions, Green Inc.); as well as BBC (NI), UTV, the Belfast Film
Festival, NI Screen, Film Devour Short Film Festival, Docs Ireland, Respect Human Rights Film Festival, and the Prison Memory Archive (PMA).
Student Experience
We have a flourishing film community including Queen's Film Society, with Queen's Film Theatre at its heart, making studying Film at Queen's a unique proposition. Students also have an opportunity to attend talks, workshops and Q&A sessions delivered by industry professionals, creative practitioners and leading film scholars. These sessions run as part of taught classes and as additional events. Recent sessions have included masterclasses with producers, screenwriters, and directors, and we also regularly host the BBC and NI Screen.
Student Testimonials
"There is a real sense of community… the lecturers really go out of their way to help us."
Rebekah Davis, BA in Film Studies
"The commitment of the lecturers goes beyond the classroom - they genuinely care about where we end up once we finish our degree. There is a genuine enthusiasm towards guiding students into the industry and teaching us more than just a curriculum" Max Blair, BA, Film Studies and Production.
"It’s a fantastic community, a great campus to get involved in and get excited about the arts, there is so much opportunity to get involved."
Robert Martin, International Student
"The university has a great reputation, it’s very central in Belfast and I got very engaged in student life right from the start. It was just the perfect place. The modules were all very relevant and it combined everything I was interested in, in this area."
Anastasia Schevchenko, International Student
“I would recommend the course to anyone aiming towards a career in the creative industries, as well as anyone looking to learn from highly experienced staff.”
Daniel McCabe
Ballynahinch, Northern Ireland
BA Film Studies Graduate
The BA in Film Studies and Production is taught through an equal mix of hands-on film production modules and critical film studies modules, with increasing flexibility at Levels 2 and 3.
Stage 1
In Level 1 you will take five core modules that are designed to introduce the core theories and concepts relevant to the study of Film Studies and Production; you can then choose one approved module from a wide range offered within the school.
Stage 2
In Level 2 you will undertake one core module, and you will choose five optional modules. Subject to availability there is a wide range available allowing you to follow existing enthusiasms and develop new interests too. The modules are designed to build on the learning gained in Level 1.
Stage 3
In Level 3 you will undertake two compulsory film production modules, and choose four further optional modules. These are designed to build on and deepen your knowledge and understanding of Film Studies and Production. Subject to availability there is a range options available, including a Work-based Learning module, supporting your employability, and a Dissertation module which allows for a more focused independent research project under the guidance of an academic supervisor. Students may also be able to take some relevant optional modules from the BA Broadcast Production programme.
2 (hours maximum) 2-4 hours of tutorials (or later, project supervision) each week.
Medium Group Teaching
6 (hours maximum) 6 hours of practical classes, workshops or seminars each week
Personal Study
24 (hours maximum) 22–24 hours studying and revising in your own time each week, including some guided study using handouts, online activities, editing lab or studio, etc.
Learning and Teaching
Film degrees at Queen's provide a range of learning experiences which enable our students to engage with subject experts, develop attributes and perspectives that will equip them for life and work in a global society and make use of innovative technologies and a world class library that enhances their development as independent, lifelong learners. Examples of the opportunities provided for learning on this course are:
E-learning technologies
Information associated with lectures and assignments is often communicated via a Virtual Learning Environment (VLE) called Canvas. A range of e-learning experiences are also embedded in the degree through, and could include, for example: interactive group workshops in a flexible learning space; podcasts and interactive web-based learning activities; opportunities to use IT programmes associated with audiovisual production processes in practical and project-based work etc.
Lectures
Introduce basic information about new topics as a starting point for further self-directed private study/reading. Lectures also provide opportunities to ask questions, gain some feedback and advice on assessments (normally delivered in large groups).
Practical workshops
Where you will have opportunities to develop technical skills and apply theoretical principles to practical film industry contexts.
Self-directed study
This is a vital part of life as a Queen’s student when important private reading, engagement with e-learning resources, reflection on feedback to date and assignment research and preparation work is carried out.
Seminars/tutorials
Significant amounts of teaching are carried out in small groups. These provide the opportunity for students to engage with academic staff who have specialist knowledge of the topic, to ask questions of them and to assess their own progress and understanding with the support of peers. You should also expect to make presentations and other contributions to these groups.
Supervised projects
Throughout the Film Studies and Production degree, students undertake practical filmmaking group and individual projects. In their final year, all students take a double weighted practice module which provides the opportunity to specialise in a chosen area of moving image production and work collaboratively on a project, to be screened at the end of the semester. You will receive support from a supervisor who will guide you and provide feedback
Assessment
How you are assessed will vary according to the learning objectives of each module. Assessments may be in the form of essays, learning journals, short films, group projects, video essays, critical reviews, textual analysis or independent projects.
Details of how each module is assessed are included in the Module Outline document which is provided to all students for each module they study.
Some modules are assessed solely through project work and/or written assignments/video essays.
Others are assessed through a combination of coursework and end of semester examinations.
Feedback
As students progress through their course at Queen’s they will receive specific feedback about their work from a variety of sources including lecturers, module convenors, placement supervisors, personal tutors, advisers of study and peers. University students are expected to engage with reflective practice and to use this approach to improve the quality of their work. Feedback may be provided in a variety of forms including:
Feedback provided via formal written comments and marks relating to work that you, as an individual or as part of a group, have submitted.
Face to face comment. This may include occasions when you make use of the lecturers’ advertised “office hours” to help you to address a specific query.
Placement employer comments or references.
Online or emailed comment.
General comments or question and answer opportunities at the end of a lecture, seminar or tutorial.
Pre-submission advice regarding the standards you should aim for and common pitfalls to avoid. In some instances, this may be provided in the form of model answers or exemplars which you can review in your own time.
Feedback and outcomes from practical classes.
Comment and guidance provided by staff from specialist support services such as Careers, Employability and Skills or the Learning Development Service.
Once you have reviewed your feedback, you will be encouraged to identify and implement further improvements to the quality of your work.
Facilities
Practical classes are held in a dedicated Film Studio with full broadcast-quality LED lighting using electrically controlled hoists and green screen.
Lectures and screenings take place in the Queen’s Film Theatre which offers our students the unique opportunity to watch and learn in a cinema environment. https://www.qub.ac.uk/schools/ael/Discover/facilities/filmstudio/
What our academics say
“This course combines practical filmmaking with skills of analysis and critical thinking. The combination of skills offered by the course means our graduates find work in a range of creative fields. Film Studies and Production is a terrific first step towards working in the thriving creative industry sector.”
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.
This module aims to provide you with knowledge and understanding of European cinema and throughout emphasis is placed on relating its forms, structures, and contexts to a broader history of cinema, and film culture. The module also explores relations between a range of European films and Hollywood cinema, particularly in relation to the ways in which European film-makers have rejected and revered the dominance of Hollywood's narrative aesthetic and industrial practices. The module will consolidate and develop upon work covered in FLM1001.
Learning Outcomes
The objectives of the module are to introduce students to key ideas and approaches in film history and film criticism as they relate to the idea of non-Hollywood product.
An introduction to the fundamental principles and critical approaches of editing for screen. The course seeks to give students the necessary core skills to develop both their technical ability in non-linear editing and their critical approach to theorising film practice.
The course is designed to develop skills in digital postproduction techniques and critical approaches to picture and story editing and provides a springboard for more advanced practical projects at levels 2 & 3.
The course builds a solid foundation for those interested in film or video editing careers and an appreciation of what it takes to create good work in the edit suite and the effect editing has on story telling. This course builds on the historical and critical understanding of the craft to help inform the creation and analysis of new work.
Learning Outcomes
By the end of this module students should be able to:
1. Demonstrate a fluency in the terminology/parlance of film post-production and an ability to use a range of specialised communication skills in support of established practices within film and video production
2. Engage critically and practically with approaches to editing/montage and their effect on ‘meaning’.
3. Produce work that demonstrates a strong working knowledge of editing techniques for film and television.
4. Demonstrate the intelligent creation, manipulation and theorisation of the moving image.
5. Work in a flexible, creative and independent environment, showing self-discipline, self-direction, good communication and good team working skills.
6. Demonstrate intermediate knowledge of post-production workflows and digital file handling using Avid Media Composer.
Skills
Significant new skills students will acquire include:
1. Proficiency at nonlinear film and television editing
2. Intermediate knowledge of codecs, acquisition formats and broadcast delivery
3. A greater understanding of the parlance used for film production
4. Familiarisation with multiplatform delivery of visual content
5. An enhanced critical understanding of montage and film editing
This is a practice-based course which introduces students to the methods, processes and research techniques involved in the development of a screenplay, with a particular focus on the short film format. Students will develop original screen ideas through participation in a series of workshops and they will learn about the role of screenplay as the blueprint of film production and the different stages of screenwriting. Over the weeks the students will become familiar with a range of screenwriting approaches, formats, practices, and standards, while learning how to analyse a screenplay from a narrative perspective. During the semester they will work on an individual writing project from the initial concept and research to the completion of a draft spec script. During the workshops, students will be offered a thorough grounding in narrative structures within film and will explore a range of techniques for developing characters, dialogues, and actions.
The module culminates with each student producing an original short film screenplay.
Learning Outcomes
By the end of the module, students should be able to:
1. demonstrate skills in writing and critical analysis through an exploration of screenplay writing
2. develop creative and technical screenwriting skills appropriately in order to produce a completed short screenplay.
3. develop an understanding of the practice of screenwriters and their use of conventions, narrative structures and other devices.
4. develop a critical approach to narrative in films.
5. review and analyse their own and others’ work in professional manner
Skills
By the end of the module, students will have acquired and developed skills in:
1. Analysis and evaluation
2. Critical reflection
3. Written presentation
A 12 week introduction to the fundamental principles of film practice. The course seeks to follow the contours of the film production cycle from development, through pre-production, to production/shooting and post-production/editing. Students acquire, via workshop and studio activity, a range of basic skills appropriate to each stage in the production process.
Learning Outcomes
On completion of this modules students will:
have a critical understanding of the basic language and form of film production\have acquired expertise in a key set of film production skills\become familiar with a range of film production equipment\have developed a familiarity with a range of filmic genres and approaches and their respective conventions.
Skills
Instruction will be provided in the following key skill areas:
basic cinematography\basic editing (Final Cut Pro)\basic scripting, story boarding and mise-en-scene.\basic sound recording techniques (on location)\basic lighting for location
The module will introduce students to the principles of film form, narrative, styles and methodologies of film criticism. It will concentrate on American and British cinema and the examples drawn from these two very different cinematic industries will help increase and broaden knowledge of film and cinema, audiences and industries.
Learning Outcomes
The objectives of the module are to introduce students to key ideas and approaches in film history and criticism.
The historical development of film has always been intrinsically linked to the development of new and innovative screen technologies. FLM1005: Screen Technologies serves as a guide to key screen technologies, which have shaped the screen industry. Adopting a broadly chronological structure, this module considers the genesis, impact, and significance of a certain body of screen technologies on the production and exhibition processes of film. Further to this, it considers the impact that technological development has had on screen language and audience engagement with the moving image. It also offers an engagement with key scholarship in this area to enhance the critical understanding of film as a cultural and technological form.
Learning Outcomes
By the end of the module, students should possess:
-Developed skills in the analysis and critical appreciation of visual texts
-Enhanced skill in critical writing, specifically regarding visual texts
-A basic understanding of the relationships between visual texts and their aesthetic contexts.
Skills
By the end of the module, students should have enhanced skills in:
1) the analysis of visual, aural, and written material
2) relating theoretical and historical issues to specific material
3) group work
4) time management and organisational competence
5) oral and written communication
This module consolidates and extends students’ practical filmmaking skills by focusing on the development, production and post-production of a short fiction film. Through a series of lectures and workshops students will explore the practice and discourse of narrative filmmaking and how to work with actors to create story meaning. Key roles in the production process will be examined throughout and students’ knowledge of the craft of these roles will be strengthened. These roles include producing, cinematography, sound recording, production design and editing. This course of study culminates in the production of a short fiction film where students follow the industry path of writing, directing and post-producing in a collaborative team. Furthermore, through the study of cognate work and production theory, students will learn to reflect on their creative practice and articulate this work in the context of contemporary film practices.
Learning Outcomes
1. Apply an understanding of how fiction films create meaning in your own film practice. [Assignments 1 and 2]
2. Evaluate the impact of drama directing strategies and techniques employed in the professional film production process. [Assignment 2]
3. Employ aspects of the conventions of narrative storytelling techniques in a short fiction film. [Assignment 1]
4. Work effectively and cooperatively as a part of a production group. [Assignments 1 and 2]
5. Employ intellectual enquiry and debate through practice-based collaboration with fellow students, academics and professional practitioners. [Assignments 1 and 2]
6. Undertake a range of production tasks in small groups to enhance your appreciation of good communication in the production environment and improve interpersonal skills and group communication in the context of filming on location. [Assignment 1]
Skills
1. Ability to cast, rehearse and work successfully on set with actors.
2. A greater understanding of the technicalities of film production.
3. Fluency in the terminology of film production.
4. Ability to consider how performance style and acting choices feed into the narrative weight and meaning of a film.
5. Ability to employ aspects of the theory of drama directing to enhance narrative meaning and the emotional and narrative quality of the resulting film.
6. Ability to consider aesthetic qualities of film through the prism of the production processes and decisions behind them, and being able to critically evaluate the narrative, emotional and stylistic value of the production processes as individual elements and as a whole.
This module will introduce and explore a number of films drawn from a range of global production contexts, in particular those outside of Europe and North America. Students will consider films in relation to theoretical issues of national identity, ethnicity, globalisation and hybridity, alongside more pragmatic issues of production, distribution and exhibition. Films studied may include examples from Brazil, China, Taiwan, Hong Kong, Senegal, Algeria, and Israel/Palestine.
Learning Outcomes
Upon successful completion of the module, students should be able to demonstrate:
1) a broad knowledge of a range of film production contexts outside of Europe and North America
2) an understanding of the various critical and theoretical approaches to world cinema/s
3) an understanding of the relationships between cinema, identity, and globalisation
4) the ability to analyse and evaluate films produced outside of Europe and North America
Skills
1) Critical thinking skills
2) Analytical skills
3) Skills of rhetoric and argumentation
4) Presentation skills
5) Written, verbal, and visual communication skills
The main objectives of the course are to introduce students to the industrial-economic structures of the American film industry and to its aesthetic structures. Particular attention will be given to the system of genres, to the star system, to notions of 'entertainment' and of 'audience' and to forms of narrative verisimilitude.
Learning Outcomes
To provide an introduction to the essential structures of the Hollywood cinema both industrial and aesthetic.
This Level 2 Film Studies and Production module aims to introduce students to the importance of animated feature films, through a specific focus on the American animation industry. The module will cover the history and development of American animation through a series of case studies to engage with recurring themes, artistry and the digital revolution. Students will also be introduced to key directors and studios that have influenced and defined the contemporary landscape of the American animation industry, such as Walt Disney, Pixar Animation Studios and DreamWorks Animation. Students will gain broader insight into the trends of popular cinema and the industrial processes of mainstream animation.
Learning Outcomes
On Completion of this module, the learner will be able to demonstrate:
1. a clear knowledge and understanding of the contemporary history and significance of the American animated film industry;
2. an ability to evaluate the narrative, aesthetic, and cultural challenges to dominant animation production studios and practices;
3. critical awareness of how animated film forms and genres relate to concepts such as the still, the moving image, the frame, animism, and utopia;
4. Enhanced understanding of the visual, audio and verbal conventions through which animated images make meaning;
5. Enhance skills in written, oral and visual communication.
Skills
In taking this module, the learner will acquire and enhance their skills in:
• Critical thinking
• Visual Analysis
• Research
• Written and oral presentation
The module examines key critical issues in so-called “non-fiction” filmmaking. Many major filmmakers, periods and movements which have come to constitute the documentary tradition as we know it today will be identified, and discussed, examining how the formation of the various modes of documentary filmmaking are partly historical but more importantly, conceptual. In particular, the module will interrogate the commonplace notion of documentary as a specific kind of film preoccupied with truth and social reality. And yet, every representation has within it elements of the subjective, the fantastic, the unconscious and the imaginary just as every fiction has elements of the document within it. The module will study films that play at the border of fiction and non-fiction rather than assume a distinct category like ‘documentary’ to be elaborated.
Learning Outcomes
1. Advanced skills in the critical analysis of documentary forms, genres and contexts
2. An understanding of critical approaches to the study of documentary film, particularly in relation to the role of documentary in other artistic practices;
3. An understanding of the interplay between notions of fiction and documentary;
4. An understanding of the visual, audio and verbal conventions through which images, sounds and words make meaning;
5. Advanced skills in written, oral and visual communication.
Skills
Organising and synthesising of a range of formal and historical materials
This module will introduce a number of British films from a range of different historical periods. Students will consider films in relation to theoretical issues of national identity, representation, class and gender and will also explore British film culture to examine issues of production, film funding, censorship and reception.
Films studied may include well-known examples from British cinema such as Passport to Pimlico (Cornelius, 1949), Room with a View (Ivory, 1985), or Elizabeth (Kapur, 1998) but will also consider a range of less well-studied texts to explore the breadth and range of ‘national cinema.’ One of the key objectives of the module will be to use film examples to address complex issues relating to national identity, shared history and popular taste. It will also consider how film can be a useful vehicle for understanding and addressing such issues.
Learning Outcomes
Upon successful completion of the module, students should be able to demonstrate:
1) an understanding of the film culture of Britain and a knowledge of British film production and reception
2) an understanding of the various critical and theoretical approaches to British cinema
3) an understanding of the relationships between cinema, history and national identity
4) the ability to analyse and evaluate films produced within Britain
Skills
1) Critical thinking skills
2) Analytical skills
3) Skills of rhetoric and argument
4) Presentation skills
5) Written, verbal, and visual communication skills
This module asks students to examine the process and challenges of adapting works, either within the same medium in a different time or place, or between different media, with staff from across the school collaborating to offer students an understanding of how different media work, and how the differences between those media impact the process of adaptation. The class will also examine how adaptation plays an integral role in the process of translation. Each week students will examine several versions of a play, novel, and/or film script (or watch them), looking at originals from the Greeks forward to see how adaptors have grappled with great works of different eras and cultures in an attempt to make them more accessible to contemporary audiences, while at the same time (in most cases) attempting to preserve something of their original context. The class will also look at theoretical models of adaptation. Ultimately, students will be asked to examine the adaptation history of a single original work in an academic essay, and will try their own hand at adaptation in presenting a treatment for a work of fiction, drama, film, or any other form, adapted from a prior work.
Learning Outcomes
Having completed this module, you should:
Understand the history of adaptation in drama and other forms.
Be able to analyse translations and adaptations
Be able to identify the rationale behind what is altered and what is kept.
Become adapters on their own.
Skills
Research and analytical skills
Performance skills
Communication and speech
Interacting with others (both in interactions between performer and director, as well as performer and audience)
Technical proficiency
This module will explore the relationships between film and sound, examining how the aesthetic, historical and cultural significance of film sound practices have been understood in the context of evolving technologies.
Learning Outcomes
By the end of the of module, students should be able to demonstrate:
1) The ability to undertake the close critical analysis of sound in film.
2) The ability to link sound practice to sound theory.
3) An understanding of the ways in which sound technology affects film aesthetics.
4) An awareness of the social and cultural significance of sound in film.
Skills
1) Critical thinking skills
2) Analytical skills
3) Skills of rhetoric and argumentation
4) Presentation skills
5) Written, verbal, and visual communication skills
Gender, Culture, and Representation – Backwards & in Heels
Overview
This interdisciplinary module introduces students to the central ideas of gender theory and to a wide variety of representations of gender across a range of media, including theatre, performance, literature, visual art, film and television. Using key texts and cultural works students are encouraged to examine critically the representation of gender across media, and the political, legal, and ethical dimensions of gender within our culture. The module involves a critical engagement with the relationship between identity, representation and culture and explores theories concerning the social construction of the masculine and feminine body. The module engages with several key issues, including the representation of femininity and masculinity, gender in the literary and theatrical canon of Western culture, the spatiality and temporality of gender, and its intersections with issues of race/ethnicity, class, and labour. Students will be asked to think about these issues and ideas across disciplines but also within their areas of study through seminars.
Learning Outcomes
Having completed this module, you should:
* have engaged with a variety of representations of gender, the body and sexual identities within socio-historical, theoretical and representational frameworks and across multiple forms of media,
* have cultivated an understanding of the theoretical and practical movements that have shaped the construction and representation of gender, sexuality and the body in culture,
* have developed a critical understanding of the relationship between representation and identity.
Skills
Having completed this module, you should:
* have developed reflexive thinking and independent critical and analytical skills.
* have developed imaginative and communicative skills based on the application of reading materials to class presentations
This is a level 2 module exploring creative practice in experimental and alternative forms of film. We will focus on a particular form or forms of experimental filmmaking which may include: the autobiographical or portrait film; the city symphony; and/or the essay film.
The class will help students to produce alternative, personal work that, by demonstating a personal voice or style, will prove a valuable addition to their portfolios. Students will gain skills in cinematography, sound design, and editing.
The class will focus on originating and refining project ideas, developing structure, and creating visual and audio aesthetics for films in these modes, along with exploring critical concepts through creative practice. This will be supported by appropriate technical instruction and some critical-historical exploration of the experimental forms explored.
It is advantageous for students to take FLM2015 Cinema and Modernism, and/or FLM2012 Documentary Film Studies prior to or alongside this class.
Learning Outcomes
On successful completion of the module, students should be able to demonstrate:
1. An increased ability to design creative practice to explore critical concepts.
2. An increased ability to conceive and control concept, structure and visual/ aural stylistics in alternative production.
3. A heightened awareness of their own personal approaches, themes, and production style in creative practice.
4. A critical and historical understanding of the alternative forms of practice featured in the class, including some key figures and concepts involved in each.
5. An increased understanding of and dexterity with production tools including cameras and editing software.
Skills
1. Analytical skills are developed during project development, production, editing, and evaluation. Students must assess the sophistication and coherence of their creative ideas in all of these stages and find appropriate ways to develop them in light of this.
2. Critical thinking skills are developed through the design of production work to explore or interrogate critical concepts.
3. Skills of rhetoric and argumentation are developed through the proposal and evaluation, and non-assessed presentations.
4. Oral communication skills are developed through production process and in the non-assessed presentation
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 Creative Industries are an increasingly important contributor to not only the Northern Irish cultural and economic landscape, but the global economy more generally. This interdisciplinary, school wide module introduces you to the practicalities of engaging with creative enterprise and developing ‘real world’ transferrable skills by taking you through the process of creating, running and growing a creative company. Aligned with the QUB Innovation Centre Project and Enterprise SU, it draws on the Qubis Customer Discovery Methodology to help you to identify potential customers, partners and mentors industry, and build your business model around conversations with them. It also provides you with the skills to undertake a critical evaluation of the Creative Industries in the UK and Ireland.
The module will be taught through seminars, workshops and field work. Students create their own business idea in groups and undergo a Customer Discovery process which involves conversations with people who are key to their creative business area. Further to this, students produce a business portfolio, develop a group pitch, and written or video essay as part of their module assessment.
Indicative Syllabus:
1. Creating a USP and business plan
2. Understanding your place in the market
3. Incorporating a business with Companies House
4. Drafting shareholders agreements
5. Budgeting, cashflows and accounts
6. Hiring and managing staff
7. Creating storyboards, proposals, scripts and prototypes with a development team
8. Applying for start up and growth funding
9. Pitching for business in the creative industries
10. Selling or winding up a company
Learning Outcomes
On Completion of this module, the learner will be able to:
1. Identify, analyse and evaluate the landscape of creative companies in the UK and Ireland including TV and film production companies, virtual and augmented reality production companies and digital agencies;
2. Compare and contrast the functionality of different industry departments and how they interact to enable the production of film slates characteristics of the various technologies underpinning these changes;
3. Demonstrate methodologies for applying creative enterprise knowledge to develop their career and make independent films;
4. Conceptualise and pitch ideas, and understand the business side of film, TV and digital production;
5. Distinguish between the various roles within a film, screen and digital media team;
6. Demonstrate enhanced skills in verbal and written communication.
Skills
In taking this module, the learner will acquire and enhance their skills in:
1. Networking, team-building and team-working
2. Entrepreneurship and commercial/business management
3. Verbal and oral communication and presentation
Film genres play a relevant role in categorising film productions, guiding film practice, and determining film consumption. This module explores and contextualises film genre criticism, introducing students to various key debates and theories. It considers how selected genres are articulated by different film cultures through narrative, aesthetics, and ideology. Additionally, it engages with film genres as dynamic categories informed by textuality and contextual dynamics. Finally, the module frames film genres not only as discursive spaces for conventions, but also for artistic experimentation and innovation.
Learning Outcomes
1) Demonstrate critical knowledge of various film genre features and their conceptual debates.
2) Ability to formulate arguments and apply film genre frameworks to analyse cinema.
3) Engage with comparative analysis, addressing the relationship of prescribed film genres to each other and to their theoretical and cultural contexts.
4) Communicate ideas and concepts through written form and/or creative use of videographic criticism.
Skills
1) Critical thinking
2) Research and argumentation skills
3) Comparative analysis
4) Writing skills and/or creative skills through the usage of videographic criticism.
Students will explore documentary methods and structures though practical exercises, film analyses, and film production so as to develop a systematic knowledge of production within the non-fiction genre. They will engage in analysis of selected documentary practices and outputs and gain a comprehensive overview of key concepts in non-fiction production, in particular narrative, address, point of view, and montage through discussion and making. Advanced skills in research, planning, scripting, shooting and editing will be applied to self-initiated projects.
Learning Outcomes
Having completed this module students should:
• understand practices of non-fiction film production in relation to their social, cultural, economic, political and technological contexts;
• reflect critically on the uses of relevant production techniques in the use of image and sound in non-fiction film production;
• employ models of analysis in order to consider, discuss, and evaluate contemporary documentary films and their significance
learn new production skills and apply these in group collaboration.
Skills
Research and analytical skills in creative practice
Communication and presentation
Combining methodologies from film practice with its institutional, intellectual, and societal contexts
Principles of Business in Arts, Cultural and Creative Industries
Overview
This course is designed for Stage 2 students in all Creative Arts disciplines (Drama, Film & Broadcast, Music & Sonic Arts) to introduce and explore key elements in the ‘business’ of creative work: the planning, management and delivery of cultural and creative projects, events and/or activities. As part of an interdisciplinary class and with elements of independent group work throughout, students will share their knowledge from their own programmes and gain new insights to the crossover of skills and opportunities and the benefits of multidisciplinary teams.
The course runs in two parts. The first half of the course will introduce students to the unique planning and delivery challenges of cultural and creative work with students’ active engagement in observing or putting the theory into real-life practice. In the second half, students will work through one of two options (subject to availability): to work in teams to enhance, deliver and evaluate a programmed event or activity with a cultural business; or to undertake independent field research in the development of an event or activity proposal for a cultural business.
Assessment will be principally based on reflexive journaling and some practical assessment of their participation (the production of a short-form report or plan).
Part 1 will be delivered mainly through classroom lectures, seminars and discussions on the different functions of management and planning in the arts, cultural and creative industries.
Part 2
Subject to availability in any given year, students will choose one of two strands for Part 2 of the programme. Activities offered in these strands each year will be selected in discussion between Subject Leads of Creative Arts and relevant staff in creative centres on campus, enabling students to access contemporary events and knowledge relevant to their studies.
Learning Outcomes
On completion of this course, students are expected to be able to:
1. Recognise common features and approaches to planning and delivery of arts, cultural and creative activities, events or projects
2. Express improved understanding of the industry context of their chosen discipline, recognising influences, norms and constraints on creative and cultural business
3. Articulate how increased understanding of creative business might influence their own creative or industry practice, their future study and professional development.
4. Understand the collaborative and team-based nature of arts, cultural and creative industries planning and delivery.
Skills
The completion of this course will support the following skills:
• Reflective & reflexive thinking
• Evaluation and observation
• Report and/or proposal writing
• Practical skills in event/project management/planning
• Teamwork and collaborative working
An examination of film project development exploring the generation and researching of film ideas from initial concept through to script development and testing of creative approaches.
Learning Outcomes
Reading, writing, visual analysis, image/sound/filmmaking, interpersonal skills and experience of new technologies.
Skills
On completion of this module students will:
1. Have advanced their interpersonal skills through groupwork
2. Advanced their film production skills including experiencing new technologies
3. Increased their understanding of how film projects develop and the various tasks involved in the pre-production stage
4. Advanced their ability to write a range of key production documents (such as treatments, scripts, talent and location release and ethics forms)
A dissertation to enable students to pursue a topic in depth and show their understanding of the area in general.
Learning Outcomes
Knowledge and understanding of a specialised area of study\n\nability to analyse and compare films and film sequences\n\nability to engage in independent research.
Skills
Skills in visual analysis, writing and scholarly presentation. Project planning and general communication skills.
This module asks students to examine the process and challenges of adapting works, either within the same medium in a different time or place, or between different media, with staff from across the school collaborating to offer students an understanding of how different media work, and how the differences between those media impact the process of adaptation. The class will also examine how adaptation plays an integral role in the process of translation. Each week students will examine several versions of a play, novel, and/or film script (or watch them), looking at originals from the Greeks forward to see how adaptors have grappled with great works of different eras and cultures in an attempt to make them more accessible to contemporary audiences, while at the same time (in most cases) attempting to preserve something of their original context. The class will also look at theoretical models of adaptation. Ultimately, students will be asked to examine the adaptation history of a single original work in an academic essay, and will try their own hand at adaptation in presenting a treatment for a work of fiction, drama, film, or any other form, adapted from a prior work.
Learning Outcomes
Having completed this module, you should:
Understand the history of adaptation in drama and other forms.
Be able to analyse translations and adaptations
Be able to identify the rationale behind what is altered and what is kept.
Become adapters on their own.
Skills
Research and analytical skills
Performance skills
Communication and speech
Interacting with others (both in interactions between performer and director, as well as performer and audience)
Technical proficiency
The module aims to introduce students to exploring broadcasting through the lens of gender. Students will analyse the representation of women and women’s lives in fiction, and the extent to which women are represented in factual programming; they will examine the roles women play in the media industries and to what extent women are involved in producing television; and they will analyse how broadcasting serves women. The practical element of the assignment, and practical presentation exercises throughout the module will also allow participants to develop presentation and debating skills.
Learning Outcomes
At the end of this module students will be familiar with the issues around the roles women play in the broadcasting industries, the research on inequalities and the campaigns to address those inequalities; they will be able to recognise and analyse gendered programming; they will be able to apply theories around broadcasting and gender to programming examples and deconstruct them; in addition, they will be able to evaluate their own work, and how it can challenge the broadcasting landscape.
Skills
Analysis and critical thinking; analysing broadcasting; understanding theories around gender; broadcasting presentation skills; structuring an argument for presentation.
This module addresses the ubiquitous global presence of crime cinema by analysing how the genre develops within different production contexts; how it circulates globally; and how it manages to work as a form of social criticism. By examining key films and theoretical debates, the module considers the capacity of crime cinema to express local, national or regional identities while at the same time developing transcultural exchanges.
Ultimately, this module proposes a transnational view of crime cinema and an understanding of crucial dynamics and concepts surrounding its complicated definition and its development within subgenres (noir, thriller, detection etc). Through the analysis of a choice of global films and key directors, it will explore topics such as transcultural identities, travel and emigration, style, and circulation of popular cinema across different countries and media.
Learning Outcomes
By the end of the module the student should be able to:
- Demonstrate a knowledge of the role of popular cinema within the cinematic landscape.
- reflect how crime cinema represents social and historical realities.
- Analyse issues pertaining to the production and circulation of the genre within different national cinemas.
- Demonstrate a conceptual understanding of a range of aspects of crime cinema, including its relationship to the territory; its understanding within film critical and theoretical discourses; its formal characteristics; its stylistic and political aspects.
- Demonstrate understanding of issues regarding transnationalism, transculturality, social criticism.
Skills
Skills that will developed include:
- Analyse an audiovisual text;
- Communicate the above appropriately in written presentations
- Engage critically with the topics discussed in class.
- Planning and delivery of a research project
- Analytical skills
This module provides an opportunity for student to utilise disciplinary skills in a work-based environment within the context of reflective practice. Students will negotiate suitable placements in consultation with their academic supervisor and participate in a programme of related classes and events. Simulated work-based projects in which students work in groups with the support of the university’s Enterprise Unit in the Students’ Union are also possible.
Learning Outcomes
On completion of this module, students should have:
Increased ability to relate academic theory to the work environment
A developed understanding of the organisational culture, policies and processes
The ability to reflexively and critically evaluate their own learning from the placement
An appreciation of enterprise and innnovation
Enhanced career knowledge
Skills
Employability skills, including effective communication, teamworking and problem-solving.
This module considers how music and image interact in film, and the social and cultural aspects of these associations. Students will be introduced to a range of key theories, in particular those surrounding music in classical cinema, and will obtain a precise understanding of the ways in which music ‘works’ in film, achieved via the close analysis of a range of filmic texts.
The module also considers ways of discussing film music in non-specialist terms, and as such no formal training in music is required to enrol on this module.
Learning Outcomes
Upon successful completion of the module, students should be able to demonstrate:
1) the ability to analyse the associations between music and film in a sophisticated manner
2) a broad understanding of the various critical and theoretical approaches to film music
3) an understanding of scoring practices in film, including how they have developed over time
4) an understanding of the sociological and cultural aspects of film music
Skills
1) Critical thinking skills
2) Analytical skills
3) Skills of rhetoric and argumentation
4) Presentation skills
5) Written, verbal, and visual communication skills
Hollywood Cinema has arguably become the dominant mode of film exhibition, functioning as the yardstick by which other forms of cinema are defined and measured. By overtly considering the spectacularism inherent to Hollywood Cinema in the wake of the Paramount decree of 1948, this module offers a critical overview of its history, production and exhibition processes, aesthetics and key theoretical approaches of contemporary Hollywood Cinema in order to elucidate its spectacular potential. In addition to delineating the notion of spectacle, it explores how cinema has used spectacle since the collapse of the studio system to seduce audiences with the promise of an experience unique to the film theatre.
Learning Outcomes
Ability to demonstrate in written and oral form an appropriate level of critical engagement with the institutional history and aesthetic tendencies of post-war American cinema;
Ability to apply appropriate historical understanding and critical approaches in the analysis of specific films and their social and economic contexts
Demonstrate an understanding of how contemporary Hollywood Cinema positions itself as a spectacular form of entertainment.
Skills
Skills in the written and oral presentation of analytical study of images, sounds and written word, working in a flexible, creative and independent way, showing self-discipline and organisational competence (time-management, etc.), relating general historical issues and theoretical debates to other related issues and debates.
The module explores cinema’s relationship with the environment. It introduces students to how film cultures from different parts of the world engage with issues regarding ecology, sustainability, human-animal relationships, the natural world, and climate change. It considers a range of film forms and genres, such as non-fiction, art cinema and popular cinema, and how they articulate the aforementioned topics in terms of narration, aesthetics, and representation. The module draws from interdisciplinary literature, integrating eco-criticism, environmental humanities, and film studies. Indicative topics are landscapes in film, animal representation in cinema, cinema in the age of Anthropocene, planetary cinema and global consciousness, interspecies relations and post-humanism in cinema, disaster cinema, eco-cinema, extractive reason and activist cinema.
Learning Outcomes
By the end of the module, students should be able to:
Demonstrate a systematic understanding of key interdisciplinary concepts, scholarship and methodologies as pertaining to cinema, the environment, and co-related concepts.
Demonstrate a critical ability to formulate arguments, appreciate the ambiguity of knowledge, and apply concepts to analyse a range of moving image forms and genres.
Communicate ideas and concepts through written form and/or a creative use of videographic criticism.
Exhibit the ability to manage their own learning and to make use of appropriate scholarly material.
Skills
Critical thinking
Advanced research and argumentation skills
Writing skills
Ability to explore interdisciplinary conceptual debates
A maximum of one BTEC/OCR Single Award or AQA Extended Certificate will be accepted as part of an applicant's portfolio of qualifications with a Distinction* being equated to a grade A at A-level and a Distinction being equated to a grade B at A-level.
Irish leaving certificate requirements
H3H3H3H3H4H4/H3H3H3H3H3
Access Course
Successful completion of Access Course with an average of 65%.
International Baccalaureate Diploma
32 points overall including 6,5,5 at Higher Level.
BTEC Level 3 Extended/National Extended Diploma
QCF BTEC Extended Diploma (180 credits at Level 3) with overall grades DDD
RQF BTEC National Extended Diploma (1080 GLH at Level 3) with overall grades DDD
Graduate
A minimum of a 2:2 Honours Degree
All applicants
There are no specific subject requirements to study Film Studies and Production.
Note
All applicants must have GCSE English Language grade C/4 or an equivalent qualification acceptable to the University.
How we choose our students
Applications are dealt with centrally by the Admissions and Access Service rather than by individual University Schools. Once your on-line form has been processed by UCAS and forwarded to Queen's, an acknowledgement is normally sent within two weeks of its receipt at the University.
Selection is on the basis of the information provided on your UCAS form. Decisions are made on an ongoing basis and will be notified to you via UCAS.
For entry to Film Studies and Production last year, offers were initially made to those who achieved at least three GCSE passes at grade B/6 or above plus three GCSE passes at grade C/4 or above, to include English Language. The final threshold varies from year to year depending on competition for places and, last year, offers were made to applicants with a minimum of six GCSE passes with two B/6 grades and four C/4 grades or better (to include English Language). Performance in any AS or A-level examinations already completed would also have been taken into account and the Selector checks that any specific entry requirements in terms of GCSE and/or A-level subjects can be fulfilled.
For applicants offering Irish Leaving Certificate, please note that performance at Junior Certificate is taken into account. Last year the initial Junior Certificate profile to qualify to be made an offer was 3B/3 Higher Merit and 3C/3 Merit grades. The Selector also checks that any specific entry requirements in terms of Leaving Certificate subjects can be satisfied. This threshold may be lowered as the cycle progresses depending upon the number and quality of applications. The final threshold is not usually determined until late in the admissions cycle, so there may be a delay in processing applicants who do not meet the initial threshold.
Offers are normally made on the basis of three A-levels. Two subjects at A-level plus two at AS would also be considered. The offer for repeat candidates is set in terms of three A-levels and may be one grade higher than for first time applicants. Grades may be held from the previous year.
Applicants offering two A-levels and one BTEC Subsidiary Diploma/National Extended Certificate (or equivalent qualification), or one A-level and a BTEC Diploma/National Diploma (or equivalent qualification) will also be considered. Offers will be made in terms of the overall BTEC grade(s) awarded. Please note that a maximum of one BTEC Subsidiary Diploma/National Extended Certificate (or equivalent) will be counted as part of an applicant’s portfolio of qualifications. The normal GCSE profile will be expected.
Applicants offering other qualifications, such as Higher National Certificates and Diplomas, will also be considered.
For applicants offering a HNC, the current requirements are successful completion of the HNC with 8 Merits. For those offering a Higher National Diploma, some flexibility may be allowed in terms of GCSE profile but, to be eligible for an offer, applicants must have good grades in the first year of their HND. The current entrance requirements are successful completion of the HND with 9 Merits and 7 Passes overall. Any consideration would be for Stage 1 entry only.
The information provided in the personal statement section and the academic reference together with predicted grades are noted but, in the case of BA degrees, these are not the final deciding factors in whether or not a conditional offer can be made. However, they may be reconsidered in a tie break situation in August.
A-level General Studies and A-level Critical Thinking would not normally be considered as part of a three A-level offer and, although they may be excluded where an applicant is taking four A-level subjects, the grade achieved could be taken into account if necessary in August/September.
Candidates are not normally asked to attend for interview.
If you are made an offer then you may be invited to a Faculty/School Visit Day, which is usually held in the second semester. This will allow you the opportunity to visit the University and to find out more about the degree programme of your choice and the facilities on offer. It also gives you a flavour of the academic and social life at Queen's.
If you cannot find the information you need here, please contact the University Admissions Service (admissions@qub.ac.uk), giving full details of your qualifications and educational background.
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
An IELTS score of 6.5 with a minimum of 5.5 in each test component or an equivalent acceptable qualification, details of which are available at: http://go.qub.ac.uk/EnglishLanguageReqs
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.
International Students - Foundation and International Year One Programmes
INTO Queen's offers a range of academic and English language programmes to help prepare international students for undergraduate study at Queen's University. You will learn from experienced teachers in a dedicated international study centre on campus, and will have full access to the University's world-class facilities.
These programmes are designed for international students who do not meet the required academic and English language requirements for direct entry.
Studying for a Film Studies and Production degree at Queen’s will assist you in developing the core skills and employment-related experiences that are valued by employers, professional organisations and academic institutions. Graduates from this degree at Queen’s are well regarded by many employers and over half of all graduate jobs are now open to graduates of any discipline.
Film Studies and Production, with its practice and professional components, provides an excellent background for work in film, television and other broadcast media and creative industries. A degree in Film Studies and Production can lead to careers in education, training and arts administration as well as offering a wide range of career possibilities including postgraduate study.
Employment after the Course
Our graduates have gone into a diverse range of careers, including the following:
Mark McNally (Screenwriter. Credits include acclaimed feature film In the Land of Saints and Sinners (2023) Recipient of the Puttnam Scholarship and BBC Writersroom’s Belfast Voices Programme )
Lauren McGuigan (Assistant Editor, Yellow Moon)
Eddie McConville, Sales liaison assistant, NBCUniversal. Screenplay accepted as finalist at 2023 Screamfest
Rebecca Davis (Film director, she has directed six fully funded short films for Northern Ireland Screen, the BBC and RTÉ)
Lauren L’Estrange (Editor, Ka-Boom Post-production, also working on her first feature film)
Elsa Hunter-Weston (Production Manager, Walk on Air Films)
James Hall (Assistant Programmer with Belfast Film Festival and Docs Ireland)
Andrew Tohill (co-director of feature film The Dig and television series such as Castaways and Dalgliesh with his brother Ryan)
Alastair Livesley (Sub-Editor at Virgin Media Presents)
Stephanie Fitzsimons (Associate at PwC)
Daniel McCabe (Sound Trainee, HBO)
Niall McEvoy, (on set VFX supervisor, HBO, Game of Thrones)
Grace Sweeney (Camera Department, HBO, Game of Thrones)
Maria Murphy (Assistant Producer, Below the Radar)
Aaron Bell (Online Assistant at ‘Fifty Fifty Post’)
Chris McGeown (Content Delivery Operator at BBC)
Michele Devlin, (Director of The Belfast Film Festival)
Genevieve Ewing (Business Consultant at CSG The Global Talent Experts) http://www.prospects.ac.uk
Employment Links
Film Studies and Production, with its practice and professional components, provides an excellent background for work in film, television and other media and creative industries. A degree in Film Studies and Production can lead to careers in education, training and arts administration as well as offering a wide range of career possibilities including postgraduate study.
Professional Opportunities
Film at Queen’s has built up extensive industry partnerships with local film production companies, which have been experiencing significant growth in recent years. Industry placement forms an important component of the Single Honours degree at Level 3.
What employers say
"Embedded throughout this course are the skills we employers are looking for in film graduates. We have seen the success of good students from this film programme and what they are capable of at this early stage of their professional lives. It’s one of the reasons our company supported the work placement option."
David Kilpatrick, Producer/Owner Clean Slate Productions
Prizes and Awards
Every year there are School prizes for the highest overall mark in this subject.
Students across the department regularly win Royal Television Society (RTS) and other student awards at both local and national level.
The Anjool Malde award for the strongest documentary work by students.
Degree 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 Degree 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.
The tuition fees quoted above for NI and ROI are the 2024/25 fees and will be updated when the new fees are known. In addition, all tuition fees will be subject to an annual inflationary increase in each year of the course. Fees quoted relate to a single year of study unless explicitly stated otherwise.
Tuition fee rates are calculated based on a student’s tuition fee status and generally increase annually by inflation. How tuition fees are determined is set out in the Student Finance Framework.
Additional course costs
An Avid Authorised Training Manual for Media Composer is required at Level 1 at a cost of approximately £45. Film Production will provide all of the film, sound, media equipment and editing suites needed. Students are not expected to purchase their own camera, microphones, laptop or editing software.
Students will need to purchase an Avid Learning Central Subscription at a cost of approximately £100.00 and an external hard drive for their compulsory first year editing module. The hard drive is required for all three years of the degree. Queen’s will provide the production and postproduction equipment and software required for the completion of all other film production coursework.
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?
There are different tuition fee and student financial support arrangements for students from Northern Ireland, those from England, Scotland and Wales (Great Britain), and those from the rest of the European Union.
Application for admission to full-time undergraduate and sandwich courses at the University should normally be made through the Universities and Colleges Admissions Service (UCAS). Full information can be obtained from the UCAS website at: www.ucas.com/students.
When to Apply
UCAS will start processing applications for entry in autumn 2025 from early September 2024.
The advisory closing date for the receipt of applications for entry in 2025 is still to be confirmed by UCAS but is normally in late January (18:00). This is the 'equal consideration' deadline for this course.
Applications from UK and EU (Republic of Ireland) students after this date are, in practice, considered by Queen’s for entry to this course throughout the remainder of the application cycle (30 June 2025) subject to the availability of places. If you apply for 2025 entry after this deadline, you will automatically be entered into Clearing.
Applications from International and EU (Other) students are normally considered by Queen's for entry to this course until 30 June 2025. If you apply for 2025 entry after this deadline, you will automatically be entered into Clearing.
Applicants are encouraged to apply as early as is consistent with having made a careful and considered choice of institutions and courses.
The Institution code name for Queen's is QBELF and the institution code is Q75.
Additional Information for International (non-EU) Students
Applying through UCAS
Most students make their applications through UCAS (Universities and Colleges Admissions Service) for full-time undergraduate degree programmes at Queen's. The UCAS application deadline for international students is 30 June 2025.
Applying direct
The Direct Entry Application form is to be used by international applicants who wish to apply directly, and only, to Queen's or who have been asked to provide information in advance of submitting a formal UCAS application. Find out more.
Applying through agents and partners
The University’s in-country representatives can assist you to submit a UCAS application or a direct application. Please consult the Agent List to find an agent in your country who will help you with your application to Queen’s University.
