Course
Overview
This course is for filmmakers and creatives who want to experiment, innovate and shape the future of storytelling.
You’ll work in a hands-on filmmaking environment while using advanced production tools, including virtual production, immersive media and generative storytelling tools.
You’ll develop your own creative voice through collaboration with filmmakers, performers and technologists, exploring the stories you want to tell. From concept to final output, you’ll bring ideas to life through bold short films and interactive digital experiences.
Combining practical production, critical thinking and research, the course encourages you to push boundaries, experiment with form, and tell meaningful stories in innovative ways.
Course Highlights
Practice-led learning – develop your craft through hands-on projects. All but one module includes a substantial practical project.
Explore emerging technologies – go beyond traditional filmmaking by experimenting with new technologies and innovative approaches to storytelling.
Industry-standard facilities – create your work using professional-quality film, television and digital production and post-production facilities.
Collaborative environment – work with performers, technicians, designers and creative managers, reflecting the collaborative nature of professional film and television production.
Research through practice – build advanced research skills and learn how to integrate critical enquiry into your creative process, strengthening both the artistic and intellectual foundations of your work.
What You Will
Study
Contemporary creative practice
In this module, you develop your creative, technical and conceptual filmmaking skills through the exploration of contemporary screen practice. You will extend your creative authorship, experiment with innovative production approaches, and critically examine the aesthetic, ethical and technological contexts that shape contemporary filmmaking and screen-based practice.
Through an extended creative project or a series of connected practical explorations, supported by technical workshops, practical sessions and academic supervision, you will refine your professional craft, strengthen your critical thinking and position your work within contemporary global film and media culture.
Research methods for creative practice
In this module, you will be introduced to a range of research methods and methodologies relevant to creative, performance and management disciplines. You will develop the research skills, critical thinking and ethical awareness needed for postgraduate study, professional practice and independent enquiry.
Exploring approaches including primary and secondary research, practice-led research, and practice as research, you will learn how to select and apply methods that best support your creative, professional or academic aims. By the end of the module, you will be able to design and articulate a coherent research approach that underpins your final project and future practice.
Post-digital storytelling
In this module, you explore narrative, creative authorship and emerging forms of storytelling in a rapidly evolving digital landscape. You will investigate immersive and interactive approaches across extended reality, virtual reality, augmented reality and mixed reality, alongside generative and other emerging media technologies. You’ll examine how these technologies reshape the relationship between creator, medium and audience.
Building on the research skills developed earlier in the programme, you will combine critical enquiry with creative experimentation, positioning your work within contemporary debates around media futures, posthumanism, platform studies and the ethical implications of emerging technologies.
Collaborative studio - innovation lab
In this module, you explore interdisciplinary collaboration and innovation in filmmaking and creative technologies. Working in multidisciplinary teams, you will develop and deliver an original project in response to a speculative challenge inspired by emerging screen-sector practice, or a live industry brief.
Applying advanced creative, technical and organisational skills, you will produce a prototype, short film, interactive experience or other screen-based project. Reflecting professional production environments, the studio model encourages collaborative problem-solving, experimentation and iterative development, supported by critical reflection on both the creative process and your individual contribution.
Major project: film/technology showcase
The major project is the culmination of the MA, providing you with the opportunity to conceive, develop and realise a substantial self-directed creative project. Depending on your interests, this may take the form of a film, immersive or interactive experience, installation, or another technology-driven screen-based work.
Drawing together the creative, technical and research skills developed throughout the programme, you will demonstrate originality, professional competence and critical insight. Where appropriate, you will be encouraged to collaborate with industry partners and present your work through public exhibition, festival submission or other professional platforms.
How You Will
Study
-
Lectures
-
Seminars
-
Productions
-
Group Work
-
Masterclass
-
Independent study
-
Mentoring
-
Supervision
How You Will Be
Assessed
The course employs a number of relevant assessment strategies: These include essays, critical reflection reports, evaluative presentations, and a portfolio of creative artefacts, such as films, prototypes or installations.
Group work forms an important part of the programme. Assessment within these modules is designed to recognise both the outcomes achieved by the team and the contribution made by each individual student. This may include reflective journals, production logs and individual evaluations submitted alongside the group project, enabling you to demonstrate your specific role, contribution and learning within the collaborative process.
Practical/written work ratio
70% practical work / 30% reflective work
This is provided as a rough guide as it can vary depending on your choices related to scripted and non-scripted work. Alternative formats for written/ reflective work can include, evaluative presentations, portfolios, videos blogs.
Dr Steve Davies
Head of Filmmaking and Creative Technologies
Steve is a filmmaker with nearly 20-years’ worth of industry experience, working on documentaries and network dramas. He’s creative director of his own production company, filmcafe, which has worked with clients such as the BBC, NHS and McDonalds including unique immersive imaging systems for both ultra-high resolution markets and mobile platforms. His PhD is in virtual reality video, concentrating on user-centred approaches to media creation and consumption by exploring interactions with media in virtual environments.
Before joining LIPA, he worked in universities across Wales, lecturing in television, filmmaking, cinematography and digital media.
Daniel Pope
Lecturer
Daniel has many years’ experience in broadcasting and film production. A genuine fascination with postproduction and visual effects led to a role at Framestore where he worked for many years on a variety of projects from feature films to commercials. Upon moving to the North, he took the role of VFX Editor on the BBC Worst Witch, after which he began lecturing at various universities. Daniel takes great pleasure in sharing and growing his knowledge.
Dr Ryan Taylor
Lecturer
Ryan has a specialist knowledge of scriptwriting, transmedia storytelling, paratextuality, convergence culture, fandom, American television, media representations of gender, horror film theory and screenwriting. Having worked in academia for over a decade, he has lectured at various universities (including The University of Southampton and The University of Portsmouth) and taught modules/topics on: Crime Television; Gender, Sexuality & Cinema; Early Hollywood; British Cinema, Horror Film; Cultures of Consumption and Screenwriting. He is also a member of the advisory board of peer reviewers for three academic journals and has written numerous articles and book reviews, along with presenting papers at various internationally prestigious conferences.
While at LIPA, and specialising in scriptwriting practice and broader topics of media theory, Ryan delivers modules on the Filmmaking and Creative Technologies programme which include: Story, Script & Authorship (Level 4); Writing for Camera & Audio (Level 5); Devised Collaborative Live & Digital Performance (Level 5); Spoken Word (Level 6); Cross Platform Perspectives (Level 6); and Core Ideas/Theories (Levels 4, 5 & 6). Throughout these modules, Ryan has been a keen advocate for workshopping and peer feedback and is especially enthusiastic about active, student-centred learning. Indeed, he believes that lecturers are not the custodians but rather the facilitators of knowledge and it is their job to encourage rather than dictate critical discourse, intellectual enquiry and creative practice. As such, he strives to create an environment of interactive exchange in which learners can discuss their ideas and, collectively, we can stitch different perspectives together to form a larger holistic understanding. Within such an environment and collaborative knowledge community, we can all investigate, debate and learn together - it is only through communal exploration and discussion that we can analyse artistic practice and develop our own skills as storytellers.
Ryan’s lectures/research interrogate social inequalities concerning race, gender and sexuality and the ways in which unequal power relations are normalised/challenged by our storytelling cultures which have never been more important as we live in a polarised world of division, fragmentation, and misinformation. However, storytelling enables us to communicate our perspectives, speak truth to power and give voice to diverse cultural experiences. Storytelling is where we can imagine a better future and bring it to life.
This year, Ryan’s key publications include:
Chapters in Edited Collections:
- Dexter: Forensic Scientists, ‘Orientated’ Audiences & the Dark Defender of the Social Order. In R. Janicker (Ed.), The Scientist in Popular Culture. Maryland: Lexington Books.
Journal Articles:
- Bryan Fuller’s Hannibal: Cannibalizing the Canon. Published in the special issue of the Journal of Screenwriting entitled ‘The New Screenplay? Emerging Screenwriting Styles, Modes, and Languages’ [expected November 2022).
What Our
Graduates Do
This is a new and exciting programme launching in 2027. The course is designed for students wishing to pursue careers as directors, producers, cinematographers, editors and creative technologists.
Whether you want to create independent films, develop immersive experiences or work within the wider screen and creative technology industries, the creative, technical and critical skills you gain from this course will provide a strong foundation for your future career.
Graduates may pursue opportunities in areas such as film production, virtual and augmented reality, immersive media, interactive content creation and virtual production
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Educational qualifications are important but are limited in what they can tell us about you.
Your natural ability, your fit with what and how we teach, your growth and your potential are also key factors in our admission process. We can’t evaluate these solely on your educational achievements, so no matter which course you are applying for, we look for the following attributes on your application and at the interview stage.
Additional Costs
As part of this course, there are likely to be some additional costs that are not included within your tuition fees. We will send you more detailed information about books and equipment we’d like you to bring after you accept your offer. Many of the costs suggested below are optional.
Trips and training courses
As part of the various modules on the programme, some class trips may be offered to help support your learning. Some of these will form part of the curriculum but most will be important additions to your work. Some trips may be free or subsidised but you may be required to cover some costs yourself. Please allow up to £100 for these throughout the year.
Seeing shows and films
You should see films and live performances as often as you can. This is not compulsory, but it will help your development as a creative practitioner. Trips to the theatre and live events are not covered by your tuition fees, so you'll need to cover these costs yourself. We are occasionally offered a limited number of free or discounted tickets for shows in the city. We also encourage you to see LIPA shows. We offer discounted student tickets to make this as affordable as possible.
Portfolio
In addition to fundamentals such as printing costs, throughout your studies you will produce work to build your portfolio. Capture and storage of this work will require students to have appropriate storage media (e.g. SD Card, HDD, SSD). These are important investments in your future career.
Project work
While developing some of your projects, you may incur costs related to transport or accommodation. This will depend on the nature of your projects and the research you wish to carry out in order to produce them.
Additional Costs
As part of this course, there are likely to be some additional costs that are not included within your tuition fees. We will send you more detailed information about books and equipment we’d like you to bring after you accept your offer. Many of the costs suggested below are optional.
Trips and training courses
As part of the various modules on the programme, some class trips may be offered to help support your learning. Some of these will form part of the curriculum but most will be important additions to your work. Some trips may be free or subsidised but you may be required to cover some costs yourself. Please allow up to £100 for these throughout the year.
Seeing shows and films
You should see films and live performances as often as you can. This is not compulsory, but it will help your development as a creative practitioner. Trips to the theatre and live events are not covered by your tuition fees, so you'll need to cover these costs yourself. We are occasionally offered a limited number of free or discounted tickets for shows in the city. We also encourage you to see LIPA shows. We offer discounted student tickets to make this as affordable as possible.
Portfolio
In addition to fundamentals such as printing costs, throughout your studies you will produce work to build your portfolio. Capture and storage of this work will require students to have appropriate storage media (e.g. SD Card, HDD, SSD). These are important investments in your future career.
Project work
While developing some of your projects, you may incur costs related to transport or accommodation. This will depend on the nature of your projects and the research you wish to carry out in order to produce them.
Additional International student costs
UKVI English language requirements
If you are not from a majority English speaking country (as determined by UKVI), you will be required to establish to LIPA that you meet the English language requirements stated in your offer letter, before getting a Confirmation of Acceptance for Studies (CAS) number. The CAS number we issue you allows you to begin the visa application process. There is no requirement for a student to evidence their English language qualification at the point of application, audition or interview.
Students who accept a place on Certificate of HE Foundation Acting (Musical Theatre) or Certificate of HE Foundation Acting (Stage & Screen) must sit a UKVI-approved Secure English Language Test (SELT). The cost of a SELT can range from approximately £180 - £250. You may also incur travel costs to your closest test centre.
Students who accept a place on an undergraduate or postgraduate course may have the opportunity to evidence their English language through a qualification from another country which meets LIPA’s assessment of its academic suitability, take a UKVI-approved Secure English Language Test (SELT), or completing and passing a LIPA Institutional Assessment of English. The cost of a SELT can range from approximately £180 - £250. You may also incur travel costs to your closest test centre. A LIPA Institutional Assessment of English is free of charge.
Student visa
All international students who do not hold a United Kingdom of Great Britain and Northern Ireland passport; a Republic of Ireland passport; or EU Settled Status (EUSS), will require a Student visa to study in the UK.
The Student visa application fee in 2026 was £490. Some students will need to have their biometrics taken as part of the visa application process and this may incur additional costs, notably travel costs to your nearest Visa Application Centre.
In addition to the application fee, you are required to pay the Immigration Health Surcharge, which gives you access to the UK’s National Health Service (NHS). Once your course starts, any medical treatment you require in the UK will be free of any further charges if you use the NHS, just as it is for UK nationals. The surcharge is compulsory, even if you hold private healthcare insurance. 2026 surcharge costs were as follows:
Foundation and Certificate of HE programmes: £776
Undergraduate (BA) programmes: £2,716
Postgraduate (MA) programmes: £1,164
The surcharge will give access to NHS healthcare services from your arrival in the UK until the date your visa expires.
Accommodation
Some accommodation providers may require international students to pay a larger deposit, or pay for their accommodation in fewer, larger instalments. This is something individual students will need to discuss with their accommodation provider.
Apply now
View the programme specification on LIPA's course catalogue




