"Goldsmiths gave me the theoretical understanding and confidence to try something new and step off the beaten track."
Paul Halliday, Sociology
It is designed to encourage creative interplay between practice and theory; you will have the chance to consider cutting-edge debates in cultural and social theory in a research setting that actively encourages the development of photographic practice.
The programme offers working photographers, visual artists and media practitioners space to reflect critically on their practice.
It also offers those with a background in sociology, urban and cultural geography, cultural studies or anthropology the opportunity to combine visual forms of representation with standard forms of research techniques in investigating urban life and the physical environments of the city.
See the courses tab for detailed information about the courses you'll study.
Essays; dissertation; final visual project.
You can apply directly to Goldsmiths via the website by clicking the ‘apply now’ button on the main programme page.
You'll be able to save your progress at any point and return to your application by logging in using your username/email and password.
We accept applications from October for students wanting to start the following September.
We encourage you to complete your application as early as possible, even if you haven't finished your current programme of study. It's very common to be offered a place that is conditional on you achieving a particular qualification.
Late applications will only be considered if there are spaces available.
Admission to many programmes is by interview, unless you live outside the UK. Occasionally, we'll make candidates an offer of a place on the basis of their application and qualifications alone.
You should have (or expect to be awarded) an undergraduate degree of at least second class standard in a relevant/related subject. You will also need to demonstrate proficiency in photographic practice, including familiarity with a 35mm camera and photographic printing.
You might also be considered for some programmes if you aren’t a graduate or your degree is in an unrelated field, but have relevant experience and can show that you have the ability to work at postgraduate level.
If your first language is not English, you normally need a minimum score of 7.0 in IELTS (including 7.0 in the written element) or equivalent.
Please check our English language requirements for more information.
Get in touch via our online form
+44 (0)20 7919 7766
+44 (0)20 7919 7702
For further information on the staff and research profile of the Department of Sociology, visit the Sociology Department staff pages.
|SO71042B||Navigating Urban Life||30 CATS|
This course addresses significant issues in the contemporary organisation of urban landscapes, urban life and connections between cities as well as the interface between human and architectural fabric. Drawing on specific empirical examples in based in China, Hong Kong, the US, London and parts of mainland Europe this course examines key debates in urban sociology and research. There is a strong focus on visual apprehension of cities and ways of accessing and researching cities through photography. The following sessions have been offered in previous years:
Assessment: 5-6,000 word essay
Convener: Anja Kanngeiser
|SO71070C||Through The Lens Part A: Imaging the City||15 CATS|
This course examines the theoretical and practical relationships between urban photography and urban ethnography focusing on city environments. Through a series of interconnected lectures and seminars, the course asks questions about the nature of ‘sociological seeing’, of the relationship between walking and urban detouring, on object-hood, ‘thing-ness’ and materiality, on how the city is both imagined and imaged, and on the relationship between aesthetics and ethics. Students will be expected to read widely on the subject both from sociological and visual textual sources, and to actively relate learning to image-making processes and outcomes.
Assessment: 2,500-3,000 WORD ESSAY
|SO71117A||Key Debates for Inventive and Visual Practice||15 CATS|
Visual sociology has taught sociology that text is not the only medium. This course introduces you to the problems of visuality and representation in sociology, beginning with classical debates in visual sociology, but including more recent debates surrounding the notions of media, translation and the studio to discuss how sociology can represent the social. The course will introduce you to the complexity of decisions to be taken in inventive sociology once the primacy of text is relinquished.
The course has two aims: first to introduce you to key fields of inventive sociology, and second to key problems of doing inventive sociology. We discuss the cooperation of sociologists with other specialists, such as photographer or videographers, the relationship between self-representations of research subjects and those of the sociologist, the problem of representing objects which are not visual or textual in nature, combining different media, and finally how to address specific audiences.
Assessment: One 2,500 WORD essay
|SO71123A/SO71124A||Talking Practice A and Talking Practice B||15 CATS each|
The Talking Practice seminars, are designed to support the development of students’ final visual projects. The sessions focus on past, current and on-going visual projects encouraging the MA group to give and receive feedback. In the past, students have found these informal sessions very useful and use them to prepare for the FVP presentations held in the summer term. These sessions are compulsory, and all full-time and first year part-time students will be expected to give at least one presentation of self-developed visual work. Students are expected to come to the session fully prepared and to arrive early in order to load up presentations onto the laptop before the session starts. Presenters will need to confirm their slots with the seminar tutors (Rachel Sarah Jones/Paul Halliday) and this will be written into the Talking Practice schedule on the VLE.
|SO71070D||Through the Lens B: Urban Identities||15 CATS|
This course focuses on the relationship between urban spaces and identities. Students will examine how sociological, psychological and anthropological theories of self relate to notions of culture, community, personal space and identity. The course will reference theoretical and critical sources exploring and questioning notions of selfhood and collective identity constructions such as gender, ‘race’, class, sexuality, aging and other cultural formulations, in relation to photographic image-making. Students are encouraged to relate the theoretical readings, lectures and seminar discussions to ongoing visual and urban research practices, and where appropriate, to provide a critical framework for their own image-making.
Assessment: 2,500-3,000 essay
|SO71122A||Urban Photographers||15 CATS|
This course will focus on a series of conversations with international photographers and artists whose visual projects relate to a critical examination of urban spaces. The speakers will reflect a wide range of practices, including landscape, portraiture, community, and other forms that relate to the developing field of urban photography and visual urbanism. The main aim of this course is to explore and reflect critically on how urban photographic practices speak to sociological, geographic and cultural debates about the nature of contemporary urban life. Students are encouraged to familiarize themselves with the speakers’ visual projects prior to the presentations, and to use the opportunity of discussing their work within the context of critical urbanism and sociological debate. Students will select a photographer presenting during the course, or, with the agreement of the course convenor, another relevant photographer/artist, and then write a short essay reflecting on a project or wider oeuvre pertaining to that particular visual author.
Assessment: 2,500-3,000 word essay
|SO71071A||Dissertation and Major Visual Project||60 CATS|
The Dissertation can comprise two parts: a portfolio and a 6-8,000-word dissertation. Alternatively, you may submit a 12-15,000-word written Dissertation. The Dissertation will consist of: an account of the rationale of the photographic project; a critical evaluation of photographic practice and issues of reflectivity and knowledge production. In combination with the written part you will be expected to provide evidence of a sustained and coherent body of photographic work focusing on an aspect of urban culture for assessment. Previously, work from Final Visual Projects has been shown on a virtual gallery space linked to the CUCR website.
MA in Photography & Urban Cultures, (graduated 2011)
"Goldsmiths gave me the theoretical understanding and confidence to try something new and step off the beaten track."
"Before coming to Goldsmiths I had spent roughly 20 years working as a freelance photographer in the commercial and advertising space. I really loved the job and the great experiences it offered through travel but over the years I became increasingly aware of something missing. I had developed a deep understanding of the technical skills a photographer requires but I felt I was missing the theoretical background to bring the whole thing together. A framework and knowledge to engage on an interdisciplinary level where photographic practice and academic practice merge into critical understanding. I looked into a number of courses and singled out the MA in Photography and Urban Cultures. It was the ideal extension to my practical experience, and the fact that I could do the course part-time meant that I could continue working whilst studying.
Aside from the high academic standard of the lectures and the level of preparation behind each session, I think the thing that I valued most was the myriad of nationalities and experiences that wove themselves together in this course. It lead to some challenging and inspiring discussions around working practice and sociological research mainly influenced and fired up by the various social, political, educational, work backgrounds and experiences.
After years of market orientated work assignments I found the act of critical and freethinking inspirational and to my understanding this is the highest aim and long lasting legacy Goldsmiths could pass on. In 2012, after graduating successfully, I set up a photography gallery (Gasket-Gallery) with three likeminded friends. The aim and philosophy is to promote talented photographers who not only have a strong photographic eye and sensibility but also socially engaging works. Goldsmiths gave me the theoretical understanding and confidence to try something new and step off the beaten track."
"I was very much enlightened by my multi-national classmates during our seminar discussions, and our coffee breaks outside of the University!"
Having graduated from my BA in Graphic Communications and worked as a brand consultant in Asia, I never expected to find myself studying a full time post-graduate degree in the UK! I was a trained photojournalist with a local newspaper (The Straits Times) in 2007, and subsequently founded my own company to do commercial work while lecturing part time in a media design school. However, the work has burnt me out.
Although I had some experience in exhibiting my photography, I’d discovered that I lacked the sufficient critical understanding to advocate for my work. The MA in Photography & Urban Cultures allowed me to examine the context of my visual portfolio and begin the process of being able to champion what I had achieved.
The Department of Sociology gave me the opportunity to be nefariously open-minded, and to explore many aspects of ideology, theory and philosophy. The course also improved my writing skills. The core modules and seminars offered a brilliant array of contemporary ideas, existential knowledge, constructive criticism and debates; they were highly informative and useful.
I was very much enlightened by my multi-national classmates during our seminar discussions, and our coffee breaks outside of the University! Although we all had different academic backgrounds, we shared a common agenda, questioning photography's relevance as a visual medium in today's society.
In addition to the curriculum, the workshops that I took part in were taught by interesting and inspirational staff members who made it their personal business to polish our photographic techniques.
I would like to recognise the help and sound editorial advice of my course convenor, Mr. Paul Halliday, who was of great assistance in encouraging me to curate my first photographic exhibition (An ‘Urban’ Analogue held during the 2013 IVSA conference) in the University, and to set a new career path.
Thanks for providing me with the opportunity to study my Masters degree at Goldsmiths. It was a challenging and demanding year, but the satisfaction was immense; every difficult moment had an awesome end.
Collected by department
Graduates of the programme have progressed to the following areas and careers:
This MA develops skills in urban photography, visual ethnography and urban research, communications for urban planning, community arts and visual arts practice.
Susan Sontag (1977) On Photography. Penguin. Sontag’s book is considered both controversial and insightful. She brings to the process of analysis a literary sensibility that doesn’t always sit easily with the practice of image-making. The essay In Plato’s Cave (chapter 1), is particularly relevant to a debate about the nature of photographic realism and visual epistemology.
Roland Barthes (1983) Camera Lucida: Reflections on Photography, London,Vintage. Barthes is best known for his extensive theoretical work around the nature of sign systems (semiotics), ideology and myth. In this beautifully written book, the author re-evaluates his relationship with photography through the autobiographical examination of a family photograph.
A.D. Coleman (1978) Depth of Field: Essays on Photography, Mass Media, and Lens Culture. University of New Mexico Press. Coleman’s essays touch on ethical debates around street photography (chapter 10), and what he terms ‘the destruction business’ of art criticism (chapter 1).
Graham Clarke (1997) The Photograph. Oxford University Press. Clarke’s book provides a useful overview of photography from a history of art/visual culture perspective. He covers a wide range of subjects including, what is a photograph? (chapter 1), how do we read photographs? (chapter 2), the city and portraiture (chapters 5 and 6), and the body (chapter 7). There is also a good discussion on the history and theory of documentary photography (chapter 8). This book is very introductory reader.
Sarah Pink (2001) Doing Visual Ethnography. Sage. Pink’s book is a very good introduction to some of the key debates within visual sociology and anthropology. Her interdisciplinary book covers a wide range of theoretical and methodological issues, and it is recommended that you read the introduction and chapters 1 and 3 which focus on the relationship between ethnography and photography.
Les Back (2007) The Art of Listening. Berg Back’s approach to visual image-making is based on listening to both photographers and those being photographed. Rather than taking a traditional art historical position of the informed, impartial and expert observer; Back is interested to learn about how photographers interact with their social environments, and how subjects negotiate and establish photographic agency. Chapter 4, (Listening with the Eye) provides a good discussion about an extended photographic encounter in London’s East End.
Caroline Knowles and Paul Sweetman (2004) Picturing the Social Landscape: Visual Methods and the Sociological Imagination. Routledge. This is a very accessible and relevant text that introduces key concepts around photography, visual methods and the sociological imagination. The introductory chapter by Knowles and afterword by Howard Becker focus on the methodological position of photography and its claim to evidentiality. 20
Gillian Rose (2012) Visual Methods: An Introduction to Researching with Visual Methods. Sage. Rose’s book focuses on a critical examination of how photography contributes towards researching societies and cultures. It is a useful introduction to research methods with discussions around photo-elicitation, aesthetics and ethics (chapters 4, 11 and 12). It is helpful to refer to this book in conjunction with Back, Knowles and Pink for a grounding in wider debates within ethnography and qualitative social science.
Content last modified: 11 Dec 2013
Goldsmiths, University of London, New Cross, London, SE14 6NW, UK
Telephone: + 44 (0)20 7919 7171
Goldsmiths has charitable status