Archive for the ‘Audience’ category

Tim Meara Featured in Dries Van Noten Exhibition

Still from Small Gesture In Bare Rooms Tim Meara

Still from Small Gesture In Bare Rooms Tim Meara

Tim Meara, Senior Lecturer on the Graphic Design and Fashion Communication foundation pathways and acting Stage 2 Leader for BA Graphic Design, has had work selected for Dries Van Noten’s Inspiration exhibition in Antwerp.

Inspiration explores Dries Van Noten’s creative process through his numerous influences. Tim Meara’s 2010 film ‘Small Gesture In Bare Rooms’, commissioned by the Centre Pompidou and featuring Lucian Freud, is included in the exhibition.

Still from Small Gesture In Bare Rooms © Tim Meara

Still from Small Gesture In Bare Rooms Tim Meara

Talking about the work, Tim Meara says: “My approach was to gather reminiscences from some of the key people in Freud’s life – family and sitters – to capture the essence of the artist’s life and work through a series of filmed ‘silent portraits’.

“I was able to work closely with Lucian Freud and his collaborators for the production, from Leigh Bowery’s assistant, Lee Benjamin and BodyMap designer Stevie Stewart, who reconstructed the PVC clubbing outfit worn by Bowery for Annie Leibovitz’s iconic 1994 photograph and brought it to life again for the film; to Nicola Bateman herself, who appears, embroidering the bedspread that she made for herself and Bowery just before they were married.

“Freud painted her as she sewed in ‘Evening in the Studio 1993’. The scenes are inter-cut with footage of Freud walking the banks of the canal in London’s Little Venice, a kestrel perched on his arm. The artist used to keep kestrels in his Delamere Terrace studio in the ’40s.”

The show also features works by a.o Yves Klein, Thierry De Cordier, Victor Vasarely, Damien Hirst, Cecily Brown, Pol Bury, Christopher Wool, Hubert Duprat, Pablo Picasso, Mark Rothko and James Tissot.

The exhibition runs at MoMu – Fashion Museum Province of Antwerp in Belgium until 17 July 2015.

More information:
– MoMu
Foundation Diploma in Art and Design
BA Graphic Design

Four Alumni Named LVMH Prize Finalists

The eight finalists (clockwise from top left): Arthur Arbesser, Coperni, Craig Green, Faustine Steinmetz, Vetements, Off-White c/o Virgil Abloh, Marques'Almeida and Jacquemus.

The eight finalists (clockwise from top left): Arthur Arbesser, Coperni, Craig Green, Faustine Steinmetz, Vetements, Off-White c/o Virgil Abloh, Marques’Almeida and Jacquemus.

The finalists for this year’s LVMH Young Fashion Designer Prize have been announced. Four of the eight labels in the running are made up of graduates from our BA and MA Fashion courses.

The shortlist includes alumni labels Arthur Arbesser, Craig Green, Faustine Steinmetz and Marques’Almeida.

Up for grabs is a grant of 300,000 euros and 12 months of personalised technical and financial support.

The last year’s inaugural prize was won by MA Fashion graduate Thomas Tait.

More information:
BA Fashion
 - MA Fashion
LVMH prize

BA (Hons) Advertising student premieres romantic drama Handle with Care at Cineworld


Handle with Care (2015) in production.

Third-year LCC student Tope Phillips has just completed his second feature Handle with Care, a British romantic drama exploring the highs and lows of love and friendship within a circle of five twenty-somethings living in London’s evolving suburbia.

The film touches on issues faced in contemporary relationships including interracial dating, serial daters, the challenges of commitment and many others, premiering recently at Cineworld Canary Wharf.

Watch the trailer //

We caught up with Tope to find out more about his work.

How did you first get into filmmaking?

I have always had an interest in films and writing, however I first got into filmmaking in my first year of university. I discovered I had a flair for filmmaking after I worked on a couple of projects.

One of my old friends Josh Bridge then contacted me, after seeing some of my work, about teaming up and creating films together at the end of 2012. We got together with the same vision and we have created two films together [the first was Squeeze, which premiered at Cineworld Chelsea].

What do you most enjoy about the process as a whole?

I enjoy every part of filmmaking, from the writing and developing of the storyline and scripts, to the audition, meeting and getting to know the actors during the rehearsals, and selecting locations for filming.

I also really enjoy the production and all the technical aspects of filming such as lighting, selecting the lenses and using different equipment on set such as the rigs and mini-cranes, and the post-production aspects such as editing, selecting the film soundtrack, designing the posters and then promoting the film.

Seeing the whole plan come together was very rewarding, however I would say my favourite part of the process was the production. This was the most rigorous, however also the most rewarding.


What has so far been the biggest challenge?

The biggest challenge was during the production of the film, we had really long days with some days starting shooting at 9am till 3-4am and resuming filming the next day at 9am.

We also had really big scenes like a scene at a comedy club where we had over 50 extras, so we had to be really organised in order for things to run smoothly.

Handle with Care is about dating in London – obviously there are a lot of films exploring this area, so what did you particularly want to address in your own film?

We made sure this film wasn’t like the typical romantic comedy/drama with the typical fairytale ending.

We made sure the characters were real and relatable and touched on many issues in young people’s relationships today such as interracial dating when parents and other parties may not approve, relationships where one party is eager to get married whilst the other isn’t, serial dating and the impacts it has, and lots more.

We also focused it on a group of friends so we could tell multiple stories at the same time.


Behind-the-scenes moments during shooting.

You’re currently studying BA (Hons) Advertising – how do you think this has helped your filmmaking?

Studying advertising gave me a can-do attitude, it definitely helped me in seeing things from different point of views.

Advertising involves a lot of planning and developing ideas which is essential in filmmaking. My lecturers helped to keep me motivated and encouraged me to pursue filmmaking.

What’s next for you?

Hopefully I can carry on making films on a bigger, better scale in the future. I also really like advertising so I might work in the advertising industry for some time.


Third-year BA (Hons) Advertising student and filmmaker Tope Phillips

Visit the Handle with Care website

Read more about BA (Hons) Advertising

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Three Students Among Savage Beauty Winners

©V&A/ Joo Yeon Kim

©V&A/ Joo Yeon Kim

The V&A has announced the five winners of its Savage Beauty competition, which asked UAL students to create an illustration inspired by the work of Alexander McQueen.

Of the students selected to have their work turned into open edition giclée prints, three are from Central Saint Martins. The prints will be available in the V&A shop.

Two of our winners – Amanda Yam and Joo Yeon Kim – are studying BA Fashion. Both drew their inspiration from McQueen’s Horn of Plenty Autumn/Winter 2009 collection.

©V&A/ Amanda Yam

©V&A/ Amanda Yam

Radical and mischievous
Amanda used acrylic paint and photoshop to create her piece. She says: “I liked the contrast of the couture influence in the silhouette and the graphical element of the Escher-inspired magpie print.”

Joo was keen to convey the volume and structure of the garment she portrayed. She explains: “I wanted to point out the silhouette and the prints on the fabric by drawing it simply, as if it were a sculpture without legs or face.”

BA Graphic Design’s Jonny Drewek created a playful take on McQueen’s ‘bumster’ jeans. Jonny says: “[McQueen] was a radical, mischievous guy, and I think he would’ve cringed at a poe-faced tribute.”

©V&A/ Jonny Drewek

©V&A/ Jonny Drewek

More information:
BA Fashion
BA Graphic Design
V&A news story

Artefact // Behind the Scenes

artefact team in newsroom

The Artefact team at work in the newsroom. Image © SUARTS

Third-year BA (Hons) Journalism student Paula Wik reflects on her experience as Managing Editor on Artefact magazine.

Behind the scenes, blood, sweat and tears are shed as we try to pull it all together. We are in the newsroom Monday to Wednesday 10am-5pm and the process is similar to that of a ‘real’ publication.

That’s because we are a real publication. Over the two terms we have worked on Artefact, over 600 articles have been published, many over 1,000 words.

We have secured interviews with big shots such as news anchor Jon Snow, Green Party leader Natalie Bennett and celebrated photographer and UAL alumnus Rankin, as well as many less famous individuals who we find inspiring and/or interesting.

We’ve done original research and created some pretty darn exciting pieces – our piece on whaling in the Faroe Islands has drawn over 3,600 unique viewers alone!

faroe islands piece

Artefact recently investigated whaling in the Faroe Islands.

Each article is painstakingly processed through the workflow from its beginnings as a ‘pitch’ (a suggestion of a story to be written – either from writers or editors), to ‘in progress’ (when writers write the story), to ‘draft submitted’ (when editors edit the piece), to ‘pending subbing’ (when sub-editors correct flow, spelling and grammar), to ‘editor’s check’ (when senior editors give the piece a once over).

Finally, the article reaches the tutors who approve the piece before publishing.

Along the way it can be sent back and forth between the writer and the editors many times for polishing and improvements – maybe another quote is needed for balance, maybe there’s a legal issue, maybe the whole piece doesn’t make sense.

Our turnaround for our print publication is very time-limited. We’re only in the newsroom three days a week and one printed edition has to be created in four weeks – from pitch to being sent off to the printer.

liberty cover

The magazine explored the idea of freedom in the Liberty issue.

Everything has to be considered – content (of course), layout, design. Will this appeal to our readers? Will our front cover make our readers want to pick it up? The balance of the articles: harder stories mixed with softer; images versus illustrations.

Does the content mirror our issue theme – this year we’ve looked at Metamorphosis, Greed, Liberty and Therapy. Does the content relate to the theme in too much of an obvious, literal or ‘samey’ way?

We work with a designer who guides us with the layout of the printed editions. We often clash, but always try to reach a compromise.

green issue cover

The Natural Capital issue was released to coincide with LCC Green Week 2015.

As the managing editor for the last two issues I have been massively privileged. Being in the middle of it all means that I have been able, and required, to learn at least a little of what all the different roles demand.

There have been many flaws in our system; some roles are only needed for a few hours per day, while my job has turned into a full-time, seven days a week position.

A big difference between Artefact and a publication out in the real world is that we are students and have not been employed – instead, we’re paying to produce the content.

We all bring varying levels of dedication, talent and experience, which has been the biggest challenge of the module. For those students who have taken ownership of Artefact, it’s enriched our experience of BA (Hons) Journalism.

liberty piece

Spread from the Liberty issue of Artefact.

I know there will be changes made for the future Artefact team, by which time we will hopefully be employed after having wowed the industry folks out there with our incredibly impressive publication.

Our baby, created from nothing, has grown up to be the talk of the town. Maybe not quite, but we’ve had amazing feedback.

I am grateful for this module and being able to leave three years of university with four brilliant editions of Artefact in my hand – knowing that the hard work we have poured into it has, to at least an extent, made up for the masses of money we have poured into our education. And did I learn…

Visit the Artefact website

Read more about BA (Hons) Journalism

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Spatial Storyworlds: CFP and Visual Presentations

Palais de Tokyo. Photo: Tricia Austin.

Palais de Tokyo. Photo: Tricia Austin.

Call for Papers and Visual Presentations for the Spatial Storyworlds Panel

The Fourth International Visual Methods Conference

University of Brighton
16th – 18th September 2015

Exhibition designers, artists and architects are invited to submit

  • A 400 word summary addressing the debate and questions outlined below
  • Five images
  • A 100 word biography

Submissions should be sent to the panel chairs:

Tricia Austin <>
Allan Parsons <>

Email attachments should be no more than 8MB


15th April 2015: Submission
27th April 2015: Notification of acceptance

Spatial Storyworlds

While immersed in watching the screen or reading a book, you are, in many senses, always ‘outside’ the story. By contrast, you can walk right into a narrative environment, becoming physically, emotionally and intellectually immersed in narrative space. It seems bodily immersion in spatialised stories heightens the sensory dimensions of narrative and simultaneously reduces other aspects of narrative experience. The majority of narrative environments e.g. exhibitions, cultural and heritage sites, brand and retail environments or crafted public realm, are not strictly determined, linear spatial experiences. They offer a different kind of immersion. Visitors/audiences/inhabitants/users tend to go where they like and construct their own narrative threads. Fixed linear sequence from a single viewpoint is one dimension that is often loosened. However, it is argued that this kind of sequence is not the primary or sole key to narrativity. Narrative spaces have authors, narrators, dramatic conflicts, content, ways of telling, events, characters, voice, shifts over time from one state to another, in other words, a plethora of narrative dimensions.

David Herman suggests even literary stories are not created simply through a sequence of events but through the construction, by the audience, of a storyworld based on cues provided by the author showing the who, what, where, when, how, why framework of the story. He also suggests that audiences recognize a story as a story, through the rhythm and change of states and events, which, it is suggested, take material, visual and spatial form in physical spaces. Cues, states and events can vary from relatively stable architectural structures and spatial arrangements; more temporary printed graphics; still and moving image; sound; light effects; fast changing digital layers, usually accessed through mobile technologies; and, finally, the behavior of other people in the space.

The panel will explore the question: if we conceive of narrative environments as storyworlds rather than strict linear sequences, how does this change design practice particularly in relation to visual methods? The panel seeks to address this question through visual case studies critiqued through spatial, narrative or cultural theory.

Please email the panel chairs with any queries:  Tricia Austin or Allan Parsons

Grayson Perry announced as new UAL Chancellor

Turner Prize-winning artist Grayson Perry will be the new Chancellor of  UAL and will take up the post on 1 August 2015.


Grayson, who is widely recognised as one of the UK’s leading contemporary visual artists, will take over the honorary role from Kwame Kwei-Armah who will come to the end of his four year term of office after the University’s Graduation Ceremonies in July 2015.

Grayson’s appointment crowns a close association with the University which spans many years. He has regularly lectured at the University, been a Governor at UAL since 2010 and is a regular attendee at the University’s Summer Shows.

Grayson commented: “I am delighted, honoured and proud to take on the role of Chancellor of the University of the Arts London. I hope to use the position to act as an ambassador and champion of the arts and especially high quality arts and design education.

“Being an artist has given me so much, my career, my friends and my sanity, not to mention my wardrobe! Becoming Chancellor gives me a platform from which to communicate the great good the arts and especially UAL offers both to individuals and society.”

Nigel Carrington, Vice-Chancellor of UAL, said: “Grayson has an astounding ability to speak for the maker, the student and the audience of art. We are proud to have appointed this unmissable artist and advocate as UAL’s Chancellor.”

Welcoming the appointment, Sir John Sorrell, Chairman of UAL, said: “Grayson has been a friend to UAL for a number of years now and we are delighted to welcome him as our Chancellor. As a high-profile campaigner for the importance of the arts and the right for anyone to access a creative education, he is a fitting representative for UAL.

“On behalf of everyone at the University, I would like to thank Kwame Kwei-Armah for his years of devoted service on behalf of our students and staff.”

Second year Central Saint Martins BA (Hons) Fashion students design a dress for Grayson every year, based on a brief written by him. Grayson attends sessions every week during the process, and each year he buys up for 14 outfits and wears them to high-profile events.

In 2013 Grayson delivered The Reith Lectures on BBC Radio 4, hosting the final one in the series at the University’s Platform Theatre at Kings Cross.

Grayson was awarded the Turner Prize in 2003, the first time it was given to a ceramic artist. He has had solo exhibitions at the British Museum and Barbican Art Gallery in London, Pittsburgh’s Andy Warhol Museum and Luxembourg’s Musée d’art moderne Grand-Duc Jean.

Recent shows include the Charms of Lincolnshire (a show using a collection of social history artefacts), My Civilisation (a large survey of his work shown in Japan and Luxembourg), and Unpopular Culture (a touring show with pieces curated from the Arts Council Collection). In 2012, Grayson created the Vanity of Small Differences, a six-piece tapestry.

In his 2013 BAFTA award-winning series on Channel 4 ‘In All in the Best Possible Taste with Grayson Perry’ he explored taste and class in the UK.

Review // PR Guest Lecture: Anaïs Hayes, Google UK

Google logo for blog

Second-year BA (Hons) Public Relations student Mary Davoudi reports on LCC’s recent PR Guest Lecture by Google UK’s Head of Brand Development, Anaïs Hayes.

Anaïs’s engaging speech shared her extensive insights from Google on how technology is changing marketing communications and reorganising brands and businesses.

She reminded us that the rise of technology today is the slowest it has ever been, and it is only going to speed up, as the 2.8 billion people who are online now are expected to at least triple in the next five or six years.

She compared it to Moore’s Law and stated that every single year the number of connections we can fit into a device will double. Not only will it get faster but also smaller and a lot cheaper.

She shared the amazing fact that mobile data in 2014 was 12 times the size of the entire internet in 2000. She reminded us that access to connections is also getting much more global and there are 10 billion devices worldwide; more people have access to a mobile device than a toothbrush!

Anaïs introduced the concept of instant gratification: how as consumers we will wait only two seconds for a webpage to load. Linked to this, it is not only the device or the message that matters, but the speed of the message. If, in those two seconds, the page is not loading, we immediately go to a competitor’s website.

As a result consumer behaviour can be understood by a completely different www acronym. It is not world wide web anymore, it is ‘what I want, where I want, when I want it’ – and if I can’t have that I will go somewhere else.

Baking speed into every concept you present to a client is crucial, Anaïs reminded us. According to her, businesses that support this are the businesses that succeed. Success is now based around ease, fluency and service.

Anaïs also discussed YouTube being not just a digital platform but the largest focus group in the world, where people will comment, like and view things and let your brand know what they like in real-time. As a public relations practitioner or a brand marketer, you can react to these changes immediately.

She highlighted an example of car brand Honda, who launched two different versions of their advert to see which one attracted more people. The one that got fewer views was taken down and all ad spend focused on the most successful one.

During her speech, Anaïs showed us a short video of a child playing with an iPad. In the next shot the child is seen playing with a magazine which she thinks is a touch screen iPad. Instead of turning the pages, she tries to touch them with her fingers.

The video demonstrated that we shouldn’t just be thinking about the current generation but focusing our expectations on future generations who have entirely different ways of thinking and behaving. As public relations practitioners we have to be ahead of the curve to advise our clients on these changes.

Anaïs also introduced another important concept for the future of communications and marketing: permission-based media.

It used to be that if brands showed you something frequently enough, eventually as a consumer you would buy it. Now, when an ad annoys you, you can avoid it.

As a result communications need to become permission-based. People don’t buy from brands. People buy from people. Brands need to work hard to understand how to do this to ‘hear’ consumer’s permission.

Anaïs finished her lecture by reminding us that in the 1920s, messages were presented on cinema screens metres away from us; in the 1960s to 1980s the message was in our living room via television. Then on our laptops and tablets.

Then we start becoming more personally involved and today we have wearable technology such as Google Glass. Is this the future of communications and marketing?

Studies show that the closer information is to cerebral cortex the more effectively it is processed, while it is predicted that in 2020 there will be 250 million wearable devices. What will this do to the discipline?

Words by Mary Davoudi

Read more about BA (Hons) Public Relations

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Two LCC alumni premiere their latest film ‘Firewalker’ based on the music of funk band Jungle Fire


Firewalker, Alejo Restrepo and Roger Gonzalez, 2014.

The 70s are back in this visual tribute to Afro-Latin Funk band Jungle Fire, created by break-through filmmakers and LCC BA (Hons) Design for Interaction and Moving Image alumni Alejo Restrepo and Roger Gonzalez. The pair, who funded the film with a successful Kickstarter campaign, released their film this week.

Their journey began two years ago whilst Alejo and Roger were studying together at LCC. On a friend’s recommendation they went out to watch a show by Jungle Fire. The band, a much talked about Afro Latin Funk band hailing from Los Angeles, were in the middle of a tour made possible by support given by Tony Morrison, DJ Lubi, Craig Charles of BBC6, DJ Snowboy and the UK Arts Council.


Still from Firewalker, Alejo Restrepo and Roger Gonzalez, 2014.

Jungle Fire had been packing venues and generating a very healthy buzz around their performances. Alejo explains, “The show was bananas, and we felt so inspired by the energy we felt at that packed venue, that we approached the band about creating something together.”

After going back and forth for about six months, Alejo and Roger came up with a concept for a short film based on the band’s track ‘Firewalker’. The film, with a storyline loosely based around how Jungle Fire formed, is a creative project produced in conjunction with Walter Pictures and features some of the LA area’s most promising young actors and dancers.


Still from Firewalker, Alejo Restrepo and Roger Gonzalez, 2014.

Alejo explains, “The goal was to create a piece that could be shown in film festivals but also stands on its own as a music video, like Michael Jackson’s ‘Thriller’. This project was a complete labour of love. Roger and I even quit our jobs in London to come to LA and make this happen!”

Using music from the band’s new record ‘Tropicoso’ as inspiration, the film takes viewers back to the decade of funk and flares, offering a new creative alternative to the music video format we have come so accustomed to.


Still from Firewalker, Alejo Restrepo and Roger Gonzalez, 2014.

The 9 minute short, which was shot on location in LA, provides a visual representation of the whole album. With its laid back, funky style, the film aims to highlight the sense of euphoria that this Afro-Latin Funk music induces.

Find out more about BA (Hons) Interaction Design Arts (previously BA (Hons) Design for Interaction and Moving Image)

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New Course Discourse // MA International Journalism (Online)


LCC’s Russell Merryman in the newsroom.

In our latest New Course Discourse feature, we chat to Course Leader Russell Merryman to find out more about the new course MA International Journalism (Online).

Can you tell us a bit about why this course has been created?

I suppose the aim, really, is to make practitioners – journalism or media studies graduates – more aware of the growing internationalisation of the media.

Before the internet, all media was regionalised or territorialised, either by nation or locale, and that was a limitation of the technology that was being used, whether it was newspapers or satellite TV.

The internet’s changed all that, and in effect everybody who publishes now is an international journalist.

But what we want to do is to try and make people more aware of the issues that are raised by that – that the playing field has radically changed – and raise an awareness about the different kinds of approaches to storytelling, narrative, law, ethics and freedom of expression.


Journalism students working in the newsroom.

How does the course content compare to an undergraduate journalism course?

On a good undergraduate programme students will be taught how to edit video, edit audio, deal with laying out a page, use social media, create websites.

What we want to do is take that on and engage people with some of the very exciting new storytelling platforms that are available, that allow people to create in-depth documentary-style journalism.

Long-form narrative, ways in which we can get under the skin of a story much more effectively than we ever could before, and engage the audience in a new type of interactive dialogue.

We want to let people explore and experiment within their own art, as it were, and within their own discipline, and really try and bring their journalism to life. Not just by examining what’s going on around them with an international perspective, but also collaborating with students in other parts of the world.


Artefact magazine, produced by LCC’s BA (Hons) Journalism students.

We’ll also be bringing in people from industry. Many of the tutors who we’re looking to recruit onto the course have experience with international broadcasters and news organisations, and we’ll be bringing in guest speakers as well.

We’ll be looking for the students themselves to bring their own experience from their own part of the world to the table, and make that part of the debate.

All of this works towards a final major project, whether that be a research dissertation or a multimedia documentary. That’s where we want them to get to at the end of the two-year course.

Can you talk a bit more about the ‘online’ aspect of the MA?

The programme is delivered entirely online so there will be no requirement to travel to London, no requirement for visas and no requirement for expensive rents. It’s part-time, so students can study it whilst, I hope, holding down a full-time job.

So it is designed with practitioners in mind – people who want to build their international perspectives on the work they are doing as journalists, and hone those skills with a group of like-minded people in an online community of interest.

For the College, it’s not the first time we’ve done online courses. We’ve got experience of doing those already, with a very successful photojournalism and documentary photography course, and we want to build on that.

emily bell gesture

Emily Bell, former Editor-in-Chief of Guardian Online, giving the annual Hugh Cudlipp Lecture to LCC students.

We’re going to be looking at a number of aspects of journalism that are affected by developments on the internet and the international perspectives that it brings.

So things like data journalism, developmental journalism, how journalism operates in emerging democracies, is the Western model really the right model? Are there are models that work more effectively in those environments? And what are the limitations and challenges of those areas?

You mentioned LCC’s reputation in providing online courses, but what else can the College offer to your future students?

What LCC brings to the table in this case is the experience of the staff, and the focus on communities of practice and communities of interest, which we want to take into a virtual realm.

Also there is still access to a lot of the facilities, like Library Services and other systems that we provide to the LCC community, which are available online. There are lots of benefits of being a student, even though you’re not physically in the building.

And connections with other courses – students will make those connections online. Students are talking to each other via the internet even when they’re physically in the building, so we’re building communities across those boundaries. LCC has always been keen to do that – it’s in our DNA.

So students will be joining that very extensive group of experts, fellow students and fellow practitioners. We are actually hoping to collaborate directly with the photojournalists, and get people working together on projects.


LCC journalism students working in the newsroom.

What are you looking for in applicants?

We’ll be looking for people who have some background in journalism – probably journalism graduates. We’re looking for experienced storytellers.

I talk to my students on the undergraduate programme and they say, “What can I do next?” And one of the things that struck me was that a lot of them went on to do things like international politics, which developed their worldview but wouldn’t necessarily develop their journalism.

So I thought there was a gap in the market – we can actually provide people with a Masters course which examines international politics and the issues of freedom of expression from an international perspective, but do so with a journalistic worldview.

We will also be happy to consider non-journalists – people who’ve done media and communications degrees, who’ve got some of those practical skills that we can hone into journalism.


Artefact magazine, produced by LCC’s BA (Hons) Journalism students.

What kinds of careers can graduates from the course expect to go on to? 

We hope that we will turn out people who are confident about tackling some of those international issues, and will be able to do so either as freelance writers, or in international news organisations – the number of which is actually growing.

We are seeing more and more international broadcasters, internet services and magazines coming online. From the days when there was just CNN and the BBC, now there are a huge number of potential employers who are interested in candidates who have a strong worldview and a strong desire to tell stories that have a global reach.

I hope that we will find stories that nobody else is telling, based on the students’ local knowledge and experience. I think that is a really exciting prospect.

Find our more about MA International Journalism (Online)

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