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Baum, Matthew. “Soft News and Political Knowledge: Evidence of Absence or Absence of Evidence?” Political Communication 20, (October 2010): 173-190.
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Bodmer, William. The Public Understanding of Science. London: Royal Society, 1985.
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Boon, Timothy. “The Televising of Science is a Process of Television: Establishing Horizon, 1962-67.” Journal for the History of Science 48, no. 1 (2015): 87-121.
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Dancyger, Ken. The Technique of Film and Video Editing: History, Theory, and Practice. Abingdon: Focal Press, 2007.
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Delgado, Ana et al. “Public Engagement Coming of Age: From Theory to Practice in STS Encounters with Nanotechnology.” Public Understanding of Science 20, no. 6 (2011): 826-845.
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Edgar, David. “Theater of Fact: A Dramatist’s Viewpoint.” In Why Docudrama? Fact-Fiction on Film and TV, edited by Alan Rosenthal, 174-188. Edwardsville: Southern Illinois University Press, 1999.
Evan, Susannah. “Shark Week and the Rise of Infotainment in Science Documentaries.” Communication Research Reports 21, no. 3 (2015): 265-271.
Fahy, Declan. The New Celebrity Scientists: Out of the Lab into the Limelight. London: Rowman & Littlefield, 2015.
Faina, Joseph. “Public Journalism is a Joke: The Case of Jon Stewart and Stephen Colbert.” Journalism 14, no. 4, (June 2012): 541-555.
Felt, Ulrike. “Why Should the Public ‘Understand’ Science? a Historical Perspective on Aspects of the Public Understanding of Science.” In Between Understanding and Trust: The Public, Science and Technology, edited by Meinolf Dierkes and Claudia Von Grote. London: Routledge, 2000.
Fournier, George. “British Docudrama.” InMedia, The French Journal of Media Studies 3 (2013).
Franklin, Bob. Newszak and News Media. London: Lesley Riddle, 1997.
Friedman, Sharon ed. Communicating Uncertainty: Media Coverage of New and Controversial Science. Mahwah: Lawrence Erlbaum Associates, 2009.
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Godmilow, Jill and Ann-Louise Shapiro. “How Real is the Reality in Documentary Film?” History and Theory 36, no 4 (December 1997): 80-101.
Gregory, Jane and Steve Miller. Science in Public: Communication, Culture, and Credibility. Cambridge: Perseus Books, 1998.
Greenwood, Carl. “Britain’s Nuclear Secrets: Inside Sellafield will Show Viewers the Reality of Atomic Power.” Mirror, July 23, 2015.
Gouyon, Jean-Baptiste. “Science and Film-Making.” Public Understanding of Science 1-14 (2015): 17-30.
Hartwell, Laura. “Exploring English for the Nuclear Industry in Biographical Films: Oppenheimer and Silkwood.” Cahiers de l’APLIUT 30, no. 2 (2011): 96-111.
Henderson, Eugene. “New BBC Panorama Documentary Broadcast Nuclear Plant Safety Failures.” The Express, September 4, 2016.
Hogg, Jonathan. British Nuclear Culture. London: Bloomsbury, 2016.
Holton, Gerald. Einstein, History and other Passions: The Rebellion against Science at the End of the Twentieth Century. New York: AIP Press, 1995.
Irwin, Alan and Brian Wynne eds. Misunderstanding Science? The Public Reconstruction of Science and Technology. Cambridge: Cambridge University Press, 1996.
Jodelka, Filipa. “Britain’s Nuclear Secrets: Inside Sellafield – a very British Fission of the Past.” The Guardian, August 10, 2015.
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Johnson, Robert. Romancing the Atom: Nuclear Infatuation from the Radium Girls to Fukushima. Santa Barbara: Praeger, 2012.
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Latour, Bruno. Science in Action: How to Follow Scientists and Engineers through Society. Cambridge: Cambridge University Press, 1996.
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Patterson, Laura. “Jim Al-Khalili Interview.” Young Scientists Journal, November 20, 2016.
Philipps, Louise. The Promise of Dialogue: The Dialogical Turn in the Production and Communication of Knowledge. Amsterdam: John Benjamins Publishing Company, 2011.
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Note de fin
1 Bill Nichols, Speaking Truths with Film: Evidence, Ethics, Politics in Documentary (Oakland: University of California Press, 2016), 14.
2 Tony Shaw, “The BBC, the State and Cold War Culture: The Case of Television’s The War Game,” The English Historical Review 494, (2006): 1365.
3 Jean-Baptiste Gouyon, “Science and Film-Making,” Public Understanding of Science 1-14, (2015): 19.
4 Filipa Jodelka, “Britain’s Nuclear Secrets: Inside Sellafield – a very British Fission of the Past,” The Guardian, August 10, 2015.
5 Sharon Friedman (ed.), Communicating Uncertainty: Media Coverage of New and Controversial Science (Mahwah: Lawrence Erlbaum Associates, 2009), 3-4.
6 John Street, “Prime time Politics: Popular Culture Politicians in the UK,” Journal of the European Institute for Communication and Culture 7 (2), (2000): 75-89.
7 Pierre Bourdieu, Sur la télévision (Paris : Liber-Raisons d’Agir, 1996), 31.
Bob Franklin, Newszak and News Media (London: Lesley Riddle, 1997).
8 Daya Kishan Thussu, News as Entertainment: The Rise of Global Infotainment (London: Sage, 2007).
9 Kishan Thussu, News as Entertainment: The Rise of Global Infotainment, 3.
10 Patrick Charaudeau, La médiatisation de la science (Brussels : De Boeck, 2008),7-10.
11 Joseph Faina, “Public Journalism is a Joke: The Case of Jon Stewart and Stephen Colbert,” Journalism 14 (4), (June 2012): 541-555.
12 Susannah Evan, “Shark Week and the Rise of Infotainment in Science Documentaries,” Communication Research Reports 21 (3), (2015).
13 Tim Usborne is a seasoned British documentary-maker on science questions. He directed four science documentaries on quantum physics, electricity or famous scientists between 2007 and 2014.
14 Antigone Mariono, “Britain’s Nuclear Secrets: Inside Sellafield,” Europhysics News 48 (5-6), (2017). Url: https://www.europhysicsnews.org/articles/epn/abs/2017/05/epn2017485-6p21/epn2017485-6p21.html <accessed on 25 March 2018>
15 Originally called Windscale, the site hosted a military-ran nuclear pile, later converted into the first commercial nuclear power reactor, Calder Hall, connected to the national grid in 1957. The complex’s activities later on diversified into nuclear fuel cycle industry with several storage facilities for used radioactive components, and a reprocessing plant, THORP, opened in 1994. The site also features decommissioning facilities.
16 Peter Bradford, “Nuclear Renaissance was just a fairy tale,” The Guardian, July 11, 2013.
17 In 2008 the UK government opened the British markets to private nuclear operators to engage in the nuclear programme. Eight sites were first earmarked as potential locations for the new generation of nuclear plants. In 2009, Three major consortia revealed their interest: Horizon (Wylfa, Oldbury), NuGen (Sellafield), and EDF-Centrica (Hinkley Point C, Sizewell). By 2013, Horizon, NuGen and Centrica had pulled out of the programme, thus jeopardising the future of the nuclear programme in Britain.
18 Nichols, Speaking Truths with Film: Evidence, Ethics, Politics in Documentary, 13.
19 Gouyon, “Science and Film-Making,” 19.
20 Martin Bauer and Jane Gregory, “From Journalism to Corporate Communication in Post-War Britain,” in Science, Journalism and Society: Science Communication Between News and Public Relations, eds. Michael Bauer and Massimiano Bucchi (London: Routledge, 2007), 33-52.
21 Jane Gregory and Steve Miller, Science in Public: Communication, Culture, and Credibility (Cambridge: Perseus Books, 1998), 44.
22 Ibid., 45.
23 Frank M. Turner, “Public Science in Britain 1880-1919”, Isis 71 (4), (1980): 589-590.
24 Steve Shapin, “Why the Public ought to Understand Science-in-the-Making,” Public Understanding of Science 1 (1), (January 1992): 27-30.
25 George Fournier, “British Docudrama,” InMedia The French Journal of Media Studies 3, (2013).
26 Léon Benvenido and Michael Bourk, Communicating Science and Technology through Online Videos: Researching a New Media Phenomenon (Abingdon: Routledge, 2018).
27 Secretary of State for Culture, Media and Sport, Broadcasting: Royal Charter for the Continuance of the British Broadcasting Corporation (London: HMSO, 2016), 5.
28 Shaw, “The BBC, the State and Cold War Culture: The Case of Television’s The War Game,” 1365.
29 Statista.com. Url: https://www.statista.com/statistics/269983/leading-tv-broadcasters-in-the-uk-by-audience-share/ <accessed on 30 May 2018>
30 Declan Fahy, The New Celebrity Scientists: Out of the Lab into the Limelight (London: Rowman & Littlefield, 2015), 3.
31 Laura Patterson, “Jim Al-Khalili Interview,” Young Scientists Journal, November 20, 2016.
32 Fahy, The New Celebrity Scientists: Out of the Lab into the Limelight, 2.
33 Casper Melville, “Facing the Future: an Interview with Jim Al-Khalili,” New Humanist, 7 March 2013.
34 Julia Raeside, “Race for the New World’s First Atomic Bomb: A Thousand Days of Fear Review – a ‘Coldly Scientific Account,’” The Guardian, 11 August 2015.
35 David Edgar, “Theater of Fact: A Dramatist’s Viewpoint.” In Why Docudrama? Fact-Fiction on Film and TV, ed. Alan Rosenthal (Edwarsville: Southern Illinois University Press, 1999), 174-188.
36 David Livingstone, “The Spaces of Knowledge: Contributions towards a Historical Geography of Science,” Environment and planning: Society and space 13, (1995): 5-34.
Nigel Thrift and David Livingstone, “The Geography of Truth,” Environment and planning: Society and space 13, (1995): 2.
37 Gail Davies, “Science, Observation and Entertainment: Competing Visions of Postwar British Natural History Television, 1946-1967,” Ecumene 7 (4), (2000).
38 Thrift and Livingstone “The Geography of Truth,” 2.
39 Filipa Jodelka, “Britain’s Nuclear Secrets: Inside Sellafield – a very British fission of the past.”
40 Laura M. Hartwell, “Exploring English for the Nuclear Industry in Biographical Films: Oppenheimer and Silkwood,” Cahiers de l’APLIUT 30 (2), (2011): 96-111.
41 Al Coppola, The Theater of Experiment (Oxford: Oxford University Press, 2016).
42 Tim Usborne, “How we split the atom for a television programme,” BBC, https://www.bbc.co.uk/programmes/articles/1fJQlwy1KY775HflGHFvxWK/how-we-split-the-atom-for-a-television-programme < accessed June 2018>
43 Guillaume Laigle, “Le Trou Noir de Synthèse, un Divertissement Educatif,” in L’Appel du Divertissement – Télévision n°4, ed. François Jost (Paris : CNRS Editions, 2013), 85-104.
44 Martin Angler, Science Journalism: An Introduction (London: Routledge, 2017), 9-10.
45 Jalees Rehman, “The Need for Critical Science Journalism,” The Guardian, May 16, 2013.
46 John Corner, The Art of Record: A Critical Introduction to Documentary (Manchester: Manchester University Press, 1996), 68.
Brian Winston, Claiming the Real. Documentary: Grierson and Beyond (London: Palgrave Macmillan, 2008).
Linda Williams, “Mirrors without Memories: Truth, History and the New Documentary,” in New Challenges for Documentary, eds. Alan Rosenthal and John Corner (Manchester: Manchester University Press, 2005), 59-75.
47 Robert Rosenstone, History on Film/Film on History (Abingdon: Routledge, 2012), 171.
48 Here the term “controversial” characterises polarising and debated issues, which imply two opposing standpoints, which are both legitimate, thus triggering public disagreements (OED).
49 Sharon (ed.), Communicating Uncertainty: Media Coverage of New and Controversial Science, 4.
50 Jim Al-Khalili, “What goes on in our nuclear industry?,” The Telegraph, August 12, 2015.
51 Nicola Lees, Greenlit: Developing Factual TV ideas from Concept to Pitch: The Professional Guide to Pitching Factual Shows (London: A&C Black, 2010), 130.
52 Fournier, “British Docudrama.”
53 Nathan Smith and Jenny Rock, “Documentary as a Statement: Defining Old Genre in a new Age,” Journal of Media Practice 15 (1), (2014): 58.
54 Robert Johnson, Romancing the Atom: Nuclear Infatuation from the Radium Girls to Fukushima (Santa Barbara: Praeger, 2012), 1.
55 Jonathan Hogg, British Nuclear Culture (London: Bloomsbury, 2016), 17.
56 Nichols, Speaking Truths with Film: Evidence, Ethics, Politics in Documentary, 2.
57 Carl Greenwood, “Britain’s Nuclear Secrets: Inside Sellafield will Show Viewers the Reality of Atomic Power,” Mirror, July 23, 2015.
58 Bruno Latour, Science in Action: How to Follow Scientists and Engineers through Society (Cambridge: Cambridge University Press, 1996).
Brian Winston, “The documentary film as scientific inscription,” in Theorizing documentary, Michael Renov, ed, (London: Routledge, 1993), 43.
59 The MTV-style refers to editing strategies and stylistic techniques, which disrupt the linear arc of the story line to put more emphasis on feelings and moods through the use of evocative visual stimuli and music. The intent is to depart from conventional approaches to time, space, and plot. The term MTV (Music TV) underlines the influence of TV commercials or short music videos on traditional film-making.
See: Ken Dancyger, The Technique of Film and Video Editing: History, Theory, and Practice (Abingdon: Focal Press, 2007), 184-198.
60 Marylin Boltz, “The Cognitive Processing of Film and Musical Soundtracks,” Memory and Cognition 32, (2004): 1194-1205.
61 Richard Cookson, Sellafield Nuclear Safety Failings (BBC1 Panorama, 2016), 13:05-13-46.
62 Tim Usborne, Britain’s Nuclear Secrets: Inside Sellafield (BBC 4, 2015), 26:15-27:00.
63 Ibid., 28: 10.
64 Ibid., 30:07.
65 Terry Shinn and Richard Whitley, eds, Expository Science: Forms and Functions of Popularisation (Dordrecht: Reidel Publishing Company, 1985), 10.
66 Andrew Anthony, “Adam Curtis: Cult Film-Maker with an Eye for the Unsettling,” The Guardian, January 4, 2015. Adam Curtis is one of the most renowned British documentary directors.
67 Colin Sparks, “The Panic over Tabloid News,” in Tabloid Tales: Global Debates over Media Standards, eds. Colin Sparks and John Tulloch (New York: Rowman and Littlefield, 2000).
68 Eugene Henderson, “New BBC Panorama Documentary Broadcast Nuclear Plant Safety Failures,” The Express, 4 September 2016.
69 Timothy Weiskel, “From Sidekick to Sideshow - Celebrity, Entertainment, and the Politics of Distraction,” American Behavioral Scientist 49 (3) (2005): 396.
70 Anthony, “Adam Curtis: Cult Film-Maker with an Eye for the Unsettling.”
71 Scott Lash, Bronislaw Szerszynski, and Brian Wynne, eds, Risk, Environment and Modernity: Towards a New Ecology (Oxford: Sage, 1996).
72 Rens van Munster and Casper Sylvest, “Pro-Nuclear Environmentalism Should We Learn to Stop Worrying and Love Nuclear Energy?” Technology and Culture 56 (4), (2015): 791.
73 Ulrike Felt, “Why Should the Public ‘Understand’ Science? a Historical Perspective on Aspects of the Public Understanding of Science,” in Between Understanding and Trust: The Public, Science and Technology, ed Dierkes, Meinolf and Claudia Von Grote (London: Routledge, 2000).
74 Nuala Johnson, Culture and Society: Critical Essays on Human Geography (London: Routledge, 2008).
75 Jim Al-Khalili, “What Goes on with Nuclear Power,” The Telegraph, August 10, 2015.
76 “Inside Sellafield: Britain’s Notorious Nuclear Power Plant,” Radiotimes, August 10, 2015.
77 Carl Sagan, The Demon-Haunted World: Science as a Candle in the Dark (New York: Ballantine Books, 1997).
78 Gerald Holton, Einstein, History and other Passions: The Rebellion against Science at the End of the Twentieth Century (New York: AIP Press, 1995).
79 William Bodmer, The Public Understanding of Science (London: Royal Society, 1985).
80 Alan Irwin and Brian Wynne (eds.), Misunderstanding Science? The Public Reconstruction of Science and Technology (Cambridge: Cambridge University Press, 1996).
See also the academic journal Public Understanding of Science created in 1992.
81 Brian Wynne, “Public Engagement as Means of Restoring Trust in Science? Hitting the Notes, but Missing the Music,” Community Genetics 9 (3), (2006): 213.
82 Gregory and Miller, Science in Public: Communication, Culture, and Credibility, 35.
83 Laura Patterson, “Jim Al-Khalili Interview.”
84 Volta Torrey, Irving J. Gitlin, Louis M. Heil and Joe Musial, “Communication Mediums Explain and Illustrate Nuclear Energy,” The Journal of Educational Sociology 22 (5), (January 1949): 324-336.
85 Ana Delgado et al. “Public Engagement Coming of Age: From Theory to Practice in STS Encounters with Nanotechnology,” Public Understanding of Science 20 (6), (2011): 826-845.
Louise J. Philipps (eds.), Citizen Voices: Performing Public Participation in Science and Environment (Bristol: Intellect, 2012) 1.
86 Simon Locke, “The Public Understanding of Science – a Rhetorical Invention,” Science, Technology and Human Values 27 (2002): 87-111.
Louise J. Philipps, The Promise of Dialogue: The Dialogical Turn in the Production and Communication of Knowledge (Amsterdam: John Benjamins Publishing Company, 2011).
87 Wynne, “Public Engagement as Means of Restoring Trust in Science? Hitting the Notes, but Missing the Music,” 213.
88 Matthew Baum, “Soft News and Political Knowledge: Evidence of Absence or Absence of Evidence?” Political Communication 20, (October 2010): 173-190.
89 Camille Deprez and Judith Perine, eds, Post-1990 Documentary: Reconfiguring Independence, (Edinburgh: Edinburgh University Press, 2015), 1.
90 Mick Broderick and Robert Jacobs, “Fukushima and the Shifting Conventions of Documentary: from Cinema and Broadcast to Social Media Netizenship,” In Post-1990 Documentary: Reconfiguring Independence, eds. Deprez and Perine, 228.
91 Sam Wineburg et al., “Common Belief and the Cultural Curriculum: an Intergenerational Study of Historical Consciousness,” American Education Research Journal 44 (1), (2007): 40-76.
92 Yougov Profiles, Ur: https://yougov.co.uk/opi/browse/Jim_Al_Khalili <accessed 13 May 2018>
93 Rehman, “The Need for Critical Science Journalism.”
94 Timothy Boon, “The Televising of Science is a Process of Television: Establishing Horizon, 1962-67,” Journal for the History of Science 48 (1), (2015).
Angler, Science Journalism: An Introduction, 9-10.
95 Jill Godmilow and Ann-Louise Shapiro, “How Real is the Reality in Documentary Film?” History and Theory 36 (4), (December 1997): 87.
Derek Paget, “Making Mischief: Peter Kominsky, Stephen Frears and British Television Docudrama,” Journal of British Cinema and Television 10 (1), (January 2013): 171-186.
96 Rehman, “The Need for Critical Science Journalism.”
97 Maria Gigante, Introducing Science through Images: Cases of Visual Popularisation (Columbia: University of South Carolina Press, 2018), 3.
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