What fun this is. Students on the Science Communication course at Imperial College London have produced a pastiche of The Artist (itself a pastiche, of course), on the theme of communicating science. Not a promising subject, you might think, but it is done with real style. The parallels with the Academy Award winner are ingenious, and the film (shot in monochrome) looks terrific. It even drags in the final third, much as does The Artist. Perhaps most impressively, they have persuaded the La Petit Reine production company to let them use extracts from Ludovic Bource’s soundtrack to The Artist. Full marks to them for having the nerve, and to the production company for being good sports.
The thirteen-minute film, made by Harriet Jarlett, Juan Casabuenas and Molly Docherty, tells of a brilliant, vain scientist who gains the applause of his students but is failing to communicate his ideas to a wider audience. This is the concern of a female student, who joins him in the laboratory, co-authors some scientific papers with him, then goes on to public acclaim because of her great ability to explain science to the general public. The thematic fit is perfect. Charmingly played by Haralambos Dayantis and Harriet Jarlett, and with a real sense of how silent film works, the only disappointment is a weak, inconclusive ending when it was crying out for the duo to dance among the test tubes to general applause.
There’s information on the film’s production at the Science Communication course’ Refractive Index blog, with some interesting thoughts on the parallels between the world of cinema and their world:
In learning about the history of silent film, we discovered an important parallel between the introduction of talking in film and talking in science. Early attempts at using sound in film were deemed clunky, and yet in time, film with sound became the norm. Any new enterprise needs time and effort in order to fulfill its full potential. Similarly, early attempts at public engagement, such as the GM consultation, have been awkward and much criticised. However, with the slightly warmer response that upstream public engagement on nanotechnology has received, we may be witnessing the refinement of a technique that could eventually become the established norm.
If this is an example of how The Artist has inspired people to think of silent films, not just their history but how they tell stories, then we should be really pleased. It is turning out to be a real force for good.