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Course information

Department

Sociology

Length

1 year full-time or 2 years part-time

Scholarship information

Funding available

Course overview

Explore the creative interplay between urban theory and the visual representation of urban cultures and places. 

Why study MA Photography and Urban Cultures at Goldsmiths

  • Developed by the Centre for Urban and Community Research, the degree encourages creative interplay between practice and theory – you’ll develop your practical photography skills and examine key ideas and debates in the representation and evocation of contemporary city life.
  • You'll 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.
  • If you are already a working photographer, visual artist or media practitioner, this programme gives you space to reflect critically on your practice.
  • For those with a background in sociology, urban and cultural geography, cultural studies or anthropology, the degree provides an opportunity to combine visual forms of representation with standard forms of research techniques in investigating urban life and the physical environments of the city.
  • The programme aims to link directly to professional research outcomes, and many graduates have secured employment within urban research, ethnography, teaching, curatorial and arts practice, human rights, and architectural research.

Contact the department

If you have specific questions about the degree, contact Paul Halliday (Programme Convenor) or the Postgraduate Programmes Officer.

What you'll study

Compulsory modules

Module title Credits
Cities and Society

Cities and Society

30 credits

This is a core course for both the MA Urban Studies pathway and the Photography and Urban Cultures (PUC) programme. Both programmes form part of the Goldsmiths Sociology portfolio of MAs hosted by the Centre for Urban and Community Research [CUCR]. CUCR provides an intellectual context for urban scholarship at Goldsmiths and beyond. CUCR also provides a wider programme of activities such as regular urban walks.

This course addresses significant issues in the contemporary organisation of urban landscape, connections between cities as well as the interface between human, architectural and planning fabrics. Drawing on specific empirical examples this course examines key debates in urban sociology. There is a strong focus on visual apprehension of cities and ways of accessing and researching cities through photography. Urban environments are navigated and understood visually, they are turned into photographs, video and film. This course probes the possibilities of visual knowledge in unravelling urban landscape and its built and human fabric.

 30 credits
Through The Lens Part A: Imaging the City

Through The Lens Part A: Imaging the City

15 credits

This module 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 module 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.

 

 15 credits
Theories and Debates in Visual Research Sociology

Theories and Debates in Visual Research Sociology

15 credits

Visual sociology has taught sociology that text is not the only medium. This module 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 and methods to discuss how sociology can represent the social. The module will introduce you to the complexity of decisions to be taken in inventive sociology once the primacy of text is relinquished.

The module has two aims: first to introduce you to key fields of visual and inventive sociology, and second to key problems of doing inventive sociology. We discuss the cooperation of sociologists with other specialists, such as photographers 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 how to address specific audiences.

 15 credits
Talking Practice A

Talking Practice A

15 credits
*Not open as an option

This module is based on a weekly critique seminar focusing on students’ visual work over the term. Students are given a photographic and textual assignment focusing on an aspect of urban space, this could be landscape, architectural, object or place based; resulting in a visual outcome that will form the basis of a group presentation and discussion of the work in relation to the accompanying written sociological analysis. The core aims of this module are to encourage the development of critical visual research skills, the ability to communicate visual images clearly and concisely, and to be able to relate and locate such image-making to the context of sociological and visual urbanism. Students will be asked to produce a short photo-essay on an urban topic exploring an aspect of urban material culture (either macro or micro), and to relate this to the theoretical and visual aspect of the Through the Lens A module. The short written component of the Talking Practice A module will focus on a critical examination of sociological and cultural processes underpinning the production of the photographic essay.

 15 credits
Urban Photographers

Urban Photographers

15 credits

This module 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 module 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.

You are encouraged to familiarise yourself with the speakers’ visual projects prior to the presentations, and to use the opportunity of discussing your work within the context of critical urbanism and sociological debate. You will select a photographer presenting during the module, or, with the agreement of the module 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 word essay focusing on either one of the photographer’s work in relation to core sociological and urban research issues, or select a relevant urban photographer/artist working in a related area as the subject for the module essay.

Convener: Paul Halliday

 15 credits
Through The Lens Part B: Urban Identities*

Through The Lens Part B: Urban Identities*

15 credits

* only open as an option for students who have studied Through the Lens A

This module focuses on the relationship between urban spaces and identities. You will examine how sociological, psychological and anthropological theories of self relate to notions of culture, community, personal space and identity. The module 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. You 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 your own image-making.

Convener: Paul Halliday

 15 credits
Talking Practice B

Talking Practice B

15 credits

This module will introduce students to core themes within visual urbanism and urban photography. It will focus on the production of a visual project linked to the Through the Lens A: Imaging the City module as well as the Navigating Urban Life core modules. Students will be asked to produce a short visual project in response to a core theme within urban sociology. The module is concerned with urban space, landscape, urban materiality, aesthetics and related ethical debates about the nature of making urban photographic images.

 15 credits

As well as these modules, you will complete a Dissertation and Major Visual Project (60 credits).

The Dissertation can comprise two parts: a portfolio and a 5-6,000-word Dissertation, or you may submit a 10-12,000-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.

Assessment

The assessment consists of coursework, extended essays, reports, presentations, practice-based projects or essays/logs, group projects, and reflective essays.

Download the programme specification. If you would like an earlier version of the programme specification, please contact the Quality Office.

Please note that due to staff research commitments not all of these modules may be available every year.

For 2021-22 and 2020–21, we have made some changes to how the teaching and assessment of certain programmes are delivered. To check what changes affect this programme, please visit the programme changes page.

Entry requirements

You should have (or expect to be awarded) an undergraduate degree of at least upper 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.

International qualifications

We accept a wide range of international qualifications. Find out more about the qualifications we accept from around the world.

If English isn’t your first language, you will need an IELTS score (or equivalent English language qualification) of 6.5 with a 6.5 in writing and no element lower than 6.0 to study this programme. If you need assistance with your English language, we offer a range of courses that can help prepare you for postgraduate-level study.

Fees, funding & scholarships

Annual tuition fees

These are the fees for students starting their programme in the 2022/2023 academic year.

  • Home - full-time: £11200
  • Home - part-time: £5600
  • International - full-time: £20250

If your fees are not listed here, please check our postgraduate fees guidance or contact the Fees Office, who can also advise you about how to pay your fees.

It’s not currently possible for international students to study part-time if you require a Student Visa, however this is currently being reviewed and will be confirmed in the new year. Please read our visa guidance in the interim for more information. If you think you might be eligible to study part-time while being on another visa type, please contact our Admissions Team for more information.

If you are looking to pay your fees please see our guide to making a payment.

Additional costs

In addition to your tuition fees, you'll be responsible for any additional costs associated with your course, such as buying stationery and paying for photocopying. You can find out more about what you need to budget for on our study costs page.

There may also be specific additional costs associated with your programme. This can include things like paying for field trips or specialist materials for your assignments. Please check the programme specification for more information.

Funding opportunities

Find out more about postgraduate fees and explore funding opportunities. If you're applying for funding, you may be subject to an application deadline.

Scholarships

Kirsty MacColl Scholarship
The Department regularly offers the Kirsty MacColl Scholarship Award in memory of singer and musician Kirsty MacColl.

How to apply

Apply now

You apply directly to Goldsmiths using our online application system. 

Before submitting your application you’ll need to have:

  • Details of your education history, including the dates of all exams/assessments
  • An electronic copy of your reference on letter headed paper, or alternatively the email address of your referee who we can request a reference from. It is preferred that you use an academic reference, however in cases where applicants are unable to provide one, a professional reference is acceptable.
  • A personal statement – this can either be uploaded as a Word Document or PDF, or completed online

          Please see our guidance on writing a postgraduate statement

  • An edited portfolio of visual images (as a PowerPoint or PDF file of prints)
  • If available, an electronic copy of your educational transcript (this is particularly important if you have studied outside of the UK, but isn’t mandatory)

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.

When to apply

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.

If you're applying for funding, you may be subject to an earlier application deadline.

Selection process

As part of the selction process, you may be offered an informal interview with the Programme Convenor.

Find out more about applying.

Staff

Staff who contribute to the programme include Paul Halliday

Workshop tutors include: 

Laura Cuch

Laura Cuch is a documentary and fine art photographer. She completed an MA in Photography and Urban Cultures at Goldsmiths, University of London in 2006 and currently teaches on the Goldsmiths based International Urban Photography Summer School (iUPSS) and on the MA PUC combined with being a visiting researcher in the Anthropology department at Goldsmiths. She has exhibited internationally at Descubrimientos - PhotoEspaña 09, Centro Cultural Blanquerna, Arts Santa Mònica, H2O Gallery, Sala d’Art Jove, Talent Latent/Scan09, Espai Cavallers 31-33 and Emergent09, and has also taken part in group shows in London at the Rich Mix Centre, Photofusion, The Viewfinder Gallery and City University. Her work has been published in Le Monde, Barcelona Metròpolis, El Súmmum, Street Signs and London Independent Photography. www.lauracuch.com

Simon Rowe

Simon Rowe is a visual artist, researcher and photography tutor working mainly with photography and video. He is also a partner in CACAO, an evolving collective of creative artists, social researchers, and educators. Simon holds an MA in Photography and Urban Cultures from Goldsmiths (2007) and is Associate Research Fellow at the Centre for Urban and Community Research. Simon currently holds a part-time position at Goldsmiths as a Visiting Tutor in the Department of Sociology on the MA in Photography and Urban Cultures. Simon’s work has been exhibited in venues in London including Limelight Gallery, International Planned Parenthood Foundation, Stark Gallery, Photofusion, and also at Gallery Hunchentoot, Berlin. From Dec – March 2011 he exhibited a selection of images from his photographic project entitled Wandering Still at the CUCR offices in Laurie Grove, New Cross London.

Britt Hatzius

Britt Hatzius is a visual artist whose practice encompasses photography, film, video and sound. She originally trained as an artist at Chelsea College of Art and Goldsmiths where she completed her MA in Photography and Urban Cultures. Britt teaches on the MA PUC course and PhD in Visual Sociology. She has extensive experience of working with urban ethnographers and researchers, is part of Studio INCITE, and has coordinated various visual research aspects of numerous international projects based at Goldsmiths. She is the former editor of London Independent Photography (LIP) magazine and currently edits the CUCR’s journal Street Signs. www.britthatzius.co.uk 

Peter Coles

After finishing a doctorate in psychology at Wolfson College, Oxford, Peter Coles moved to Paris where he worked as a journalist and photographer for 20 years, completing a major body of work called Paris Traces on abandoned objects, which has been exhibited in Paris, New York and Rome and has featured in several magazines. He now lives in London as a writer, editor and fine art photographer. He is working on a book on ancient urban trees and socio-geographical change. Since 2007 Peter has been a Visiting Research Fellow at the Centre for Urban and Community Research, Goldsmiths, University of London, where he also teaches on the M.A. in Photography and Urban Cultures, with a special focus on the relationship between built and natural environments.

Find out more about staff in the Department of Sociology. 

Suggested reading

Suggested preliminary reading:

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.  

Student work

Gasket

Gasket is a photographic collective formed of four Goldsmiths alumni. They have used their experiences on the programme to form a group which has led to various exhibitions, events and workshops around the UK.

Read more

Careers

Skills

This MA develops skills in urban photography, visual ethnography and urban research, communications for urban planning, community arts and visual arts practice.

Careers

Graduates of the programme have progressed to the following areas and careers:

  • Doctoral studies
  • curating
  • public relations
  • urban planning
  • advertising
  • community arts education
  • social research
  • journalism

Find out more about employability at Goldsmiths.

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