It is a cliché of self-help advice that there are no problems, only opportunities. The rationale and actions of the BSHS in creating its Global Digital History of Science Festival may be a rare genuine confirmation of this mantra. The global COVID-19 pandemic of 2020 meant that the society's usual annual conference – like everyone else's – had to be cancelled. Once the society decided to go digital, we had a hundred days to organize and deliver our first online festival. In the hope that this will help, inspire and warn colleagues around the world who are also trying to move online, we here detail the considerations, conversations and thinking behind the organizing team's decisions.
Science and religion pervade the 1973 horror The Exorcist (1973), and the film exists, as the movie’s tagline suggests, ‘somewhere between science and superstition’. Archival materials show the depth of research conducted by writer/director William Friedkin in his commitment to presenting and exploring emerging scientific procedures and accurate Catholic ritual. Where clinical and barbaric science fails, faith and ritual save the possessed child Reagan MacNeil (Linda Blair) from her demons. The Exorcist created media frenzy in 1973, with increased reports in the popular press of demon possessions, audience members convulsing and vomiting at screenings, and apparent religious and specifically Catholic moral outrage. However, the official Catholic response to The Exorcist was not as reactionary as the press claimed. The United States Conference of Catholic Bishops’ Office of Film and Broadcasting (USCCB-OFB) officially and publicly condemned the film as being unsuitable for a wide audience, but reviews produced for the office by priests and lay Catholics and correspondence between the Vatican and the USCCB-OFB show that the church at least notionally interpreted it as a positive response to the power of faith. Warner Bros. Studios, however, were keen to promote stories of religious outrage to boost sales and news coverage – a marketing strategy that actively contradicted Friedkin’s respectful and collaborative approach to working with both religious communities and medical professionals. Reports of Catholic outrage were a means of promoting The Exorcist rather than an accurate reflection of the Catholic Church’s nuanced response to the film and its scientific and religious content.
Planet of the Apes confronts and exposes both anti-authoritarian and politically conservative attitudes to religion and its relationship to advances in science in the United States at the end of the 1960s. The film explicitly questions religion and its position within government, scientific advancement, and education while simultaneously existing as an artefact of the Judeo-Christian infused culture of post-war United States and post-censorship Hollywood. This article uses the lens of science and religion to analyze the under-researched Planet of the Apes and the transformation of its scientific narrative throughout the film's production, dissemination, and reception history from novel, to script, to screen.
The film ‘Don't look up’ engages a woman science advisor, historically a very male-dominated role. Because the character of woman scientist Kate Dibiasky (Jennifer Lawrence) cannot be easily transformed into a commodity, she is side-lined as a scientific voice as she attempts to warn Earth of the coming apocalypse. For marginalised scientists, their value depends on how their identity markers are used. ‘Don't look up’ is a satire of audience apathy, corporate greed, and media manipulation but still offers a very nihilistic vision of the impact of scientists and their expertise.
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