The summative evaluation focused on four major outcomes: (1) to what extent did the film appeal to adult viewers? (2) to what extent did the film achieve its intended viewing goals? (3) what did viewers perceive that they learned from the film, if anything? (4) did viewing the film influence the audience beyond the museum visit? A quasi-experimental separate-sample pretest-posttest design was used to evaluate the film in its natural theater setting: 204 adults responded to the presurvey and 199 to the post survey. Thirty adult audience members were also interviewed by phone one week later
Science in film is gaining attention from scientists and science communicators. Sixteen experts gathered at the 253rd Annual Meeting of the American Chemical Society to explore the role and relevance of science in film. An audience of researchers, academics and students enjoyed first-hand accounts from filmmakers, science consultants and experts in science communication, who all agreed on the important impact the way science is depicted in film has on education, outreach and the relationship between science and society.
How did industrial museums cross the Atlantic? When the first American museums of science and industry were created in the 1920s, they looked to Europe in order to import what was seen at that time as a burgeoning cultural institution. In this article, I look at this process of appropriation through an analysis of the changing perceptions of European industrial museums as expressed in the reports, surveys and books written by the curators, directors and trustees of the New York Museum of Science and Industry. I will pay particular attention to the 1927 film Museums of the New Age, documenting
Scientist-turned-filmmaker Randy Olson makes a bold claim: scientists cannot adequately explain their own work. He attributes all of the issues facing science communication today ― false positives, an uninterested public, and unapproved grant proposals ― to scientists' lack of narrative intuition. Rather than turn to the humanities for help, Olson suggests scientists learn from the true masters of storytelling ― Hollywood filmmakers. His latest book examines the age-old divide between science and the humanities, as well as the new adversarial relationship between science and film, which he
Science and wildlife films are very common and widely viewed. Yet, most of the makers of these films have entered the profession because of their knowledge or interest in science and wildlife. Given the potential for a rather circuitous route to the profession many filmmakers benefit tremendously from engagement in professional development. We have detailed the professional development needs of novice and expert science and wildlife filmmakers ranging from keeping current with technology to consideration of engaging audiences beyond the viewing. We have also addressed gaps in the current
The prevalent lack of research on the interrelations between science, research and popular culture led to the organization of the first International Conference on Science and Research in Popular Culture #POPSCI2015, which took place at Alpen-Adria-Universität in Klagenfurt, Austria, from 17--18 September 2015. The aim of the conference was to bring together not only science communication researchers with an interest in popular culture, but also other scholars, scientists and researchers, artists, media professionals and members from the general public. In this issue of JCOM we present four
Dr. Barbara Flagg's paper presented at the one-day symposium, Giant Screen Films and Lifelong Learning, focuses on what evaluations by Multimedia Research have taught us about making giant screen films an entertaining and effective tool for lifelong learning by adult audiences. In summary, giant film audiences are attracted mainly to the format by their expectations of vicarious experiences, vertigo feelings, exquisite cinematography and learning new and unusual information. These educated audiences also expect more from the format in the way of information and storyline than is typically
With funding from the National Science Foundation, NOVA/WGBH Boston with the participation of 14 U.S. and 4 international science museums have produced an IMAX/OMNIMAX film titled, Special Effects. The 40-minute film shows the techniques and methods that special effects filmmakers use along with their understanding of the human visual system to create movie illusions. Multimedia Research implemented a summative evaluation focused on the following major outcomes: To what extent did the program appeal to adult viewers? To what extent did the program achieve its intended viewing goals? What
With funding from the National Science Foundation, NOVA/WGBH Boston with the participation of 14 U.S. and 4 international science museums have produced an IMAX/OMNIMAX film titled, Special Effects. The 40-minute film shows the techniques and methods that special effects filmmakers use to create movie illusions. Multimedia Research implemented a summative evaluation with students focused on the following major outcomes: To what extent did the program appeal to student viewers? To what extent did the program achieve its intended viewing goals? Did the implementation of school-based activities
Hidden Universe is a multi-faceted project built around production of a 2D/3D giant screen film. The goal is to inspire, engage, and excite viewers about the mysterious worlds hidden around us and the science and technology that reveal them. The film will illuminate natural wonders that are invisible to the naked eye, such as objects and processes that are too slow, too fast, and too small to be seen without advanced technologies. It will include nanoscience and microbiology research and developing wavelength technologies such as ultrafast lasers. The project will employ cutting-edge
For over two decades NSF has been investing in the development and evaluation of giant screen films for viewing by audiences in science centers and museums. These have been highly successful in terms of audiences reached and project evaluations that indicate their impact on learning. Less well understood is how the unique attributes of giant screen films (e.g., "immersion" and "presence") affect learners in ways that differ from other film formats. This integrated research and media project will contribute to that knowledge base. Project deliverables will include a giant screen film that tells the story of the discovery of biological mimicry (the critical proof for natural selection and in turn, evolution) through the life story of Henry Bates and his travels through the Amazon rainforest more than 150 years ago; 2D dome, and 2D flat format versions; live interactive science demonstrations and educational resources; and workshops for ISE professionals. The film and the related outreach via science centers, social media, and the web are expected to reach large public audiences; workshops and web resources will reach ISE professionals nationally. A strategy for reaching underrepresented audiences through science museums and partnerships with educational societies is a part of the broadening participation effort. Building on results of an NSF-funded workshop in which researchers, evaluators, and filmmakers began to develop a research agenda to provide evidence about giant screen attributes and their impacts on learning, the research component of this project will focus on the differences in learner knowledge among the various film formats, their unique attributes, and whether format plays a role in science interest and science identity. A baseline study will be conducted to begin gathering evidence on how each of these formats affects learning. Data on audience knowledge gains, interest, and science identity will be collected using a novel tablet-based game-like assessment pre-film viewing, immediately post viewing, and in a later follow-up. These baseline data will inform follow-on research that, over time, can better explain the unique impacts on learning of the giant screen format. Project partners include the Pacific Science Center, SK Films, Howard Hughes Medical Institute, Rutgers University, and Arizona State University.
Twin Cities Public Television in collaboration with a committee of STEM media professionals will organize a one-day conference devoted to network building and planning for an inaugural, multi-day STEM Media Producers Conference in 2013 or 2014. Professional organizations and conferences are well-known and effective means of building community and advancing practice within specific fields. Mass media – film, television, radio, and more recently, productions for online/digital platforms – have been a primary component of NSF’s support for informal science education (ISE) for more than three decades, drawing on the skills of an extremely diverse array of professionals. Yet despite the many common issues faced by these professionals and the increasingly cross-platform nature of ISE media projects in the NSF portfolio, at present no formal organization, professional society or annual conference exists for this community. An organization of media producers and a regular, annual meeting will provide a much-needed forum to address issues of training and professional development, facilitate cross-platform collaborations, increase the use of new media technologies, and synthesize evaluations and research into coherent statements of the powerful impact of STEM media – statements that can form the cornerstone of a STEM/ISE media awareness campaign. The event will take place in conjunction with the NSF PI Meeting in March 2012, capitalizing on the momentum generated at a media convening organized by the Center for the Advancement of Informal Science Education (CAISE) in July of 2011. The approximately 30 attendees will include participants in the July Convening and other STEM media professionals, all representing the subfields of Film, Television, Radio, and the increasingly important and diverse Online/Digital field, plus research and evaluation specialists and CAISE staff. The agenda will emphasize the potential of cross-platform collaborations and define a second agenda for a larger annual meeting that will include the larger community of STEM professionals.