Jan 21, 2014 ... and scientists in popular film and television, and to use media ... Classes take
place on Tuesdays at 16.00 starting on 21 January 2014.
Centre for Co-Curricular Studies Science, Culture and Society
HSCS08. Science on Screen Dr Louise Anderson
[email protected]
Introduction This course will introduce you to the representation of science and scientists in a variety of film and television genres. Using case studies drawn mainly from UK and US film and television you will examine important issues relating to both science fact and science fiction. The key aims of this course are to introduce you to a range of common approaches used in film and television studies, to encourage you to think critically about the portrayal of science and scientists in popular film and television, and to use media representations in order to explore science’s ethical, political, social and economic dimensions. You will increase your critical thinking skills, improve your understanding of science communication, and gain an appreciation of the social and cultural contexts of science. Having an understanding of how science is portrayed in film and television you will be able to contribute constructively and creatively to the important global conversation about the ways in which science is represented in moving image media.
Aims and Objectives The course aims: • to introduce students to the relevant concepts and terms central to the study of film and television •
to explore a wide range of film and television genres that engage with science
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to discuss the central issues and problems facing science broadcasters and film makers
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to encourage a critical engagement with the portrayal of science and scientist on film and television
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to develop students’ ability to communicate scientific information accurately and appropriately
On successful completion of the course students will have: • demonstrated an ability critically to analyse and interpret a range of films and television programmes •
identified central questions relating to science broadcasting
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developed a range of skills which will enable them to begin to contribute constructively to the global conversation about the representation of science in film and television
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begun to develop the skills to communicate scientific information to a general
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Course structure Classes take place on Tuesdays at 16.00 starting on 21 January 2014. Classes will incorporate lecture material, class discussion, group or individual tasks and screening of appropriate material. The course is divided in to two interrelated sections: in sessions 2–4 we examine factual representations of science and scientist; in sessions 5–7 we look at fictional representations.
Communication Queries about the administration of the course (rooms, times etc.) should be directed to the Horizons Administrator, Jackie Twitchett
[email protected] Queries relating to the course or assessment should be discussed with me, Louise Anderson. You can speak directly to me before each class or email me with any enquiries.
[email protected] There is a dedicated Blackboard site for the course. Some materials can be downloaded/accessed from Blackboard although some material will need to be borrowed from the library collection. You should log into Blackboard regularly for updates.
Assessment Assessment will consist of an assignment, a presentation and an evaluation of your participation in classroom activities (see below). •
Small group presentations will take place in the final week of the course. Groups will identify a current science related news story and present a short pitch or outline (max. 10 mins) for a 30 min factual TV programme or drama documentary. Presentations will be held on 11 March 2014. (40%)
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500 word film review (of a film which has had a cinema release in the UK in the past 12 months) for New Scientist magazine (40%) Deadline 5 pm on 21 March 2014.
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Class participation: active participation class discussions, group work, involvement on Blackboard, good class preparation. (20%)
Course schedule Session 1, Course Introduction 21 January 2014 This session will provide an overview of the course and introduce you to the academic ‘reading’ of the moving image. You will be taught some of the basics of film and television theory, including visual analysis and interpretation of film and television. Preparation: Come to the session with a list of three examples of science related film and/or TV programmes that you found particularly interesting and be prepared to say why. You can choose factual or fiction examples. Extra reading: Bignell, J. (2007) An Introduction to Television Studies, (2nd edn). London, Routledge. Cook, P. (ed.) (2008) The Cinema Book (3rd edn). London, BFI. Imperial Horizons
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Giannetti, L. (2010) Understanding Movies, (12th edn). London, Pearson. Nelmes. J. (ed.) (2011) Introduction to Film Studies, (5th edn). London, Routledge.
Session 2, Genre: Documentary Film 28 January 2014 This session will begin by exploring what a documentary film is and will go on to examine what part documentary films play in shaping discussions about public concerns (e.g. about ecology, sustainable energy, resource allocation). We will explore how the arguments are framed in these films and what role scientists play in them. Preparation: Watch An Inconvenient Truth (2006, d. Davis Guggenheim) (available in the library) Extra reading: Boon, T. (2008) Films of Fact: A History of Science Documentary in Documentary Film and Television. New York, Columbia University Press. Bruzzi, S. (2000) New Documentary: A Critical Introduction. London, Routledge. Corner, J. and Rosenthal, A. (eds) (2005) New Challenges for Documentary. Manchester: Manchester University Press. Mellor, F. (2009) The Politics of Accuracy in Judging Global Warming Films. Environmental Communication 3(2): 134–150. Nichols, B. (2010) Introduction to Documentary. Indiana University Press, Indiana. Russill, C. (2010) Truth and opinion in climate change discourse: The Gore-Hansen disagreement. Public Understanding of Science. 20(6): 796–809.
Session 3, Television: Science on Television 4 February 2014 This session will reveal how science programmes were central to the growth of British broadcasting in the mid-20th century, and why they have flourished since. We will consider the central dilemmas of their producers: should the programme be a lecture or spectacle; should information come before entertainment; should the presenter be a brilliant broadcaster or a brilliant scientist? Preparation: Watch an episode from Carl Sagan’s Cosmos (1980) and the extract from Brian Cox's Huw Weldon Lecture A Challenge to TV Orthodoxy (both available on Blackboard) Extra viewing: Using the approaches and techniques used in class view and critically analyse the following: Bang Goes the Theory Series 1 and 2/ 3 and 4 (2011); Wonders of the Solar System and Wonders of the Universe (2011); Jacques Cousteau Odyssey (2006); Frozen Planet (2011). Extra reading: Al-Khalili, J. (2010) Mainstream Experiments: Science belongs on TV – we must reject any ideas that primetime always equals dumbing down http://www.guardian.co.uk/commentisfree/2010/may/25/science-in-the-media-dumbing-down Boon, T. (2008) The Growth of Television and the Representation of Science (ch 6.); Television Science Genres 1955–65 (ch. 7), Coda: The Fate of Genres in Television Science
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Since 1965. In: Films of Fact: A History of Science in Documentary Films and Television. London: Wallflower Press. Hansen, A. Science, Communication and Media. In Holliman, R et al. (eds.) Investigating Science Communication in the Information Age: Implications for public engagement and popular media. Oxford, Oxford University Press. pp. 105–127. Johnson, A. (2010) 'Can Rational Thought Be Entertaining?' Flow 12(1) (3 June 2010) Leon, B. (2007) Narrative and Dramatic Techniques. Science on Television: The Narrative of Scientific Documentary. Luton: The Pantaneto Press, pp. 63–100. Staiger, J. (2012) It's a Myth So Let's Blow It Up: The Pleasures of Mythbusters. Flow 16(4) (14 August 2012)
Session 4, Television: Science in TV News 11 February 2014 This session, led by Dr Felicity Mellor, will focus on news output and examine its editorial values with an emphasis on truth, accuracy and impartiality. We will pay particular attention to a report commissioned by the BBC Trust into the impartiality of the BBC's coverage of science (July 2011). Preparation: look at the Trust’s report and read the executive summary at: http://www.bbc.co.uk/bbctrust/our_work/editorial_standards/impartiality/science_impartiality. html Watch some current television news broadcasts and take note of how science stories are presented.
Session 5, Genre: Science Fiction on Film and TV 18 February 2014 This session pursues some of the questions raised in session three between scientific accuracy and entertainment. One of the central dilemmas filmmakers face is how to make movies both believable and sensational. Success is predicated on the fact that audiences believe that the events taking place are possible. Preparation: Watch Sunshine (2007, d. Danny Boyle) and an episode of Dr Who (both titles are available in the library). If you have the chance Gravity (2013, d. Alfonso Cuaron) – the DVD release date for Gravity is February 2014. Bould, M. (2012) The Science in Science Fiction. Science Fiction. London, Routledge. pp. 5– 13. Extra reading: Hochscherf, T. & Leggott, J. (eds.) British Science Fiction Film and Television: Critical Essays. London, McFarland and Co. Johnston, K. M. (2011) Science Fiction Film: A Critical Introduction. London, Berg. Extra viewing: Critically analyse the future depicted in any of the following films: Things to Come (1936, d. William Cameron Menzies); Alphaville (1965, d. Jean LucGodard); Planet of the Apes (1968, d.Franklin J. Schaffner); Logan’s Run (1976, d.Michael Anderson); Mad Max (1979, d. Gary Miller); Bladerunner (1982, d. Ridley Scott); Brazil (1985, d. Terry Gilliam);12 Monkeys (1995, d.Terry Gilliam); Judge Dredd (1995, d. Danny Imperial Horizons
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Cannon); Gattaca (1997, d. Andrew Niccol); The Matrix (1999, d. Andy and Lana Wachowski); A.I. Artificial Intelligence (2001, d. Stephen Spielberg); Minority Report (2002, d. Stephen Spielberg); Wall-E (2008, d. Andrew Stanton); Monsters (2010, d. Gareth Edwards); The Hunger Games (2012, d. Gary Ross), Her (2013, d. Spike Jonze) this film is released in the UK on 14 February 2014.
Session 6, Television: The Drama of Science 25 February 2014 This session considers how TV drama, through the use of scientific terminology and a scientific ‘look’, works to convince the audience of their accuracy. In this session we will be considering two prime-time US dramas Breaking Bad and CSI. Breaking Bad follows the two-year-long story of Walter White a struggling high school chemistry teacher who is diagnosed with inoperable lung cancer and turns to a life of crime, producing and selling methamphetamine, in order to secure his family's financial future before he dies. We will examine the presentation of science and the scientist. CSI follows the activities of forensic experts solving crimes through the ingenious appliance of science. We will examine the visual aspects of the programme which appear to demonstrate scientific fact and will also consider the so-called ‘CSI effect’ which, according to Max Houck (West Virginia University), is ‘the perception of the near-infallibility of forensic science in response to the TV show’. Preparation: Watch an episode of CSI or CSI: New York or CSI: Miami and an episode of Breaking Bad (both titles are available in the Library). Extra reading: Allen, M. (ed.) (2007) Reading CSI: Crime TV under the Microscope. London, I. B. Tauris. Brewer, P. R. & Ley, B.L. (2010) Media Use and Public Perceptions of DNA Evidence, Science Communication 32(1): 93–117. Hare, J. (2013) How much of the science in Breaking Bad is real? BBC News Magazine http://www.bbc.co.uk/news/magazine-23710654 Ley, B. L., Jankowski, N. & Brewer, P.R. (2012) Investigating CSI: portrayals of DNA testing on a forensic crime show and their potential effects, Public Understanding of Science 21(1): 51–67. Pierson, D.P. (ed.) (2014) Breaking Bad: Critical Essays on the Contexts, Politics, Style and Reception of the Television Series. London: Lexington Books.
Session 7, Fictional Representations of Scientists in Film 4 March 2014. In this session, led by Brian Glasser, will analyse clips from the 1931 version Frankenstein (that you will have watched); and in small groups you will devise a pitch for a 2014 version, including suggestions for director, stars, cinematographic style, location etc. We will also briefly look at the other end of the scientific saint and sinner spectrum - the biopic of the famous scientist. What recurring patterns can be found there and what do they tell us about the march of science? Preparation: Watch Frankenstein (1931, d. James Whale) (available on Blackboard and in the library).
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Extra viewing: Bride of Frankenstein (1935, d, James Whale); Frankenstein (Danny Boyle's 2010 National Theatre stage production filmed, viewable by appointment at NT Archive, NT Studio, 83-101 The Cut, London SE1 8LL); The Story of Louis Pasteur (1936, d. William Dieterle). Extra reading: Shelley, M. (f.p. 1823) Frankenstein. Frayling, C. (2006) Mad, Bad, Dangerous? The Scientist and the Cinema. London, Reaktion Books. Glasser, B. (2010) Medicinema: Doctors in Film. London, Radcliffe Publishing.
Session 8, Group assessment 11 March 2014 This week small group presentations will take place. Groups will identify a current science related news story and present a short pitch or outline (max. 10 mins) for a 30 min factual TV programme or drama documentary. Groups are asked to consider the following: who they will use as advisors to the programme; the programme format or how they will present the various arguments; who they will use as contributors (experts, general public who may be affected by the story etc.); will they use an on-screen presenter or use a voice-over; how they will present information (talking heads, animated graphics, reconstructions); the tone of the programme (light-hearted or serious and studied). Groups are encouraged to use visuals to support their presentation where possible. More information will be available in class.
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