Podcast appearances and mentions of David A Kirby

In this special audio documentary episode of The Cinematologists Podcast, we draw upon the fascinating research in an AHRC funded project Demons of the Mind: Psychiatry and Cinema in the long 1960s. Exploring the complex interrelations between cinema and the psy-sciences during a unique period of material collaboration, we cover the dimensions of mutual influence between filmmakers and psychiatric professions in a number of contexts - the depiction of psychological themes in case history adaptations, relationships between doctors and patients, changing ideas around causes and treatments of conditions, the context of censorship, and the very social perception of mental illness. We also focuses on the rationale for collaborations between filmmakers and psy-professionals, their ideological and moral parameters, and the formal characteristics of films influenced by psychiatry in various ways.  The episode, written, narrated and edit by Dario and featuring contributions from research investigators Dr Tim Snelson of the University of East Anglia and Dr William R. Macauley of the University of Manchester, weaves together the core arguments and findings from the project with indicative clips from a range of films that were the focus of enquiry. After the main edit, Dario discusses with Neil the making of the podcast, thinking through both the technical elements of editing this type of podcast and the decision-making process when adapting such in-depth research to the audio form. Dr. Tim Snelson is an associate professor in media history at the University of East Anglia (UK). His research addressing the relationship between media and social history has been published in journals including Media History, History of Human Sciences, Cultural Studies and The Historical Journal of Film, Radio and Television. He has explored wartime cycles of psychological horror and crime films in a book titled Phantom Ladies: Hollywood Horror and the Home Front (Rutgers University Press, 2015). https://orcid.org/0000-0002-8282-2432 Dr. William R. Macauley is a lecturer at the University of Manchester and senior research associate at the Science Museum, London. He has an academic background and extensive research experience in psychology and the history of science, technology, and medicine. His work has been published in scholarly books and journals including History of the Human Sciences, Journal of British Cinema and Television, History of Technology, and the Journal of Sonic Studies. https://orcid.org/0000-0002-1748-9610 Book to accompany the research project: Tim Snelson , William R. Macauley  and David A. Kirby, Demons of the Mind: Psychiatry and Cinema in the Long 1960s (forthcoming Edinburgh University Press, 2024).   Bibliography Baudry, Jean-Louis, and Alan Williams. “Ideological Effects of the Basic Cinematographic Apparatus.” Film Quarterly, vol. 28, no. 2, 1974, pp. 39–47.  Laing, R.D. 1960. The Divided Self: An Existential Study in Sanity and Madness. (2010 edition) Penguin Modern Classics. Laing, R.D. 1970. Sanity, Madness and the Family: Families of Schizophrenics. Penguin Books Ltd Metz, Christian, and Alfred Guzzetti. “The Fiction Film and Its Spectator: A Metapsychological Study.” New Literary History, vol. 8, no. 1, 1976, pp. 75–105.  Mulvey, Laura. 1975. "Visual Pleasure and Narrative Cinema." Screen, vol. 16, no. 3, pp. 6-18   Filmography Secrets of a Soul (1926, G. W. Pabst)  Calling Dr Death (1943, Reginald Le Borg) Shock (1946, Alfred L. Werker) Dark Mirror (1946, Robert Siodmak) Possessed (1947, Curtis Bernhardt) The Snake Pit (1948, Anatole Litvak) The Three Faces of Eve (1957, Nunnally Johnson) Psycho (1960, Alfred Hitchcock) The Caretakers (1963, Hal Bartlett) The Collector (1965, William Wyler) Repulsion (1965, Roman Polanski) In Two Minds (TV, 1967, Ken Loach) One Flew Over the Cuckoo's Nest (1975, Miloš Foreman) Silence of the Lambs (1991, Jonathan Demme) Good Will Hunting (1997, Gus Van Sant) Girl, Interrupted (1999, James Mangold) Joker (2019, Todd Philips)   Addition music via Artlist.io A.J. Nutter - Winds of Design Alon Peretz - While the Town Was Sleeping Norvik - Waterbed   You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. Or visit www.cinematologists.com We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only £2. We really appreciate any reviews you might write (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. _____ Music Credits: ‘Theme from The Cinematologists' Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing  

Out of the lab and onto the screen: how cinematic narratives construct the public image of science & technology AgBioFEWS Cohort 3 Organized Guest Panel with: › Leah Ceccarelli, PhD, Professor at University of Washington › David Kirby, PhD, Professor of Science and Technology Studies at Cal Poly University - San Luis Obispo Drawing on perspectives from rhetorical criticism and media studies, Drs. Leah Ceccarelli and David Kirby discuss the role of popular science-fiction films in shaping public perception of scientists and emerging biotechnologies. Abstract Dystopias, biological warfare, and near human extinction are common tropes in science-fiction film and television. These representations not only provide entertainment, but reflect deep-seated fears and hopes for scientific and technological futures. This is especially true for biotechnology (think Stephen King's The Stand and Steven Spielberg's Jurassic Park), where cinematic narratives can shape the public's imagination of scientists and their practices. Because the interplay of science and media is an important force shaping our understanding of innovation, scientists should be interested in what's playing on the big screen. With that in mind, members of GES's AgBioFEWS Cohort 3 have invited Drs. Leah Ceccarelli and David Kirby to lead a discussion on popular science-fiction films and their impact on the public's orientation to science and technology, with a special focus on scientists' credibility and genetic engineering. Related links: Kirby, D.A. (2007) The Devil in Our DNA: A Brief History of Eugenic Themes in Science Fiction Films, Literature and Medicine, 26(1): 83-108 Kirby, D.A. & L.A. Gaither (2005) Genetic Coming of Age: Genomics, Enhancement, and Identity in Film, New Literary History, 36(2): 263-282. Kirby, D.A. (2004) Extrapolating Race in Gattaca: Genetic Passing, Identity, the New Eugenics, and the Science of Race, Literature and Medicine, 23(1): 184-200. Ceccarelli, L. Scientific Ethos and the Cinematic Zombie Outbreak, Mètode: Science Studies Journal 6 (2016): 107-13. Speaker Bios Dr. Leah Ceccarelli (@leahcecc) is a critic and theorist whose research focuses on interdisciplinary and public discourse about science. She directs the University of Washington's Science, Technology, and Society Studies Graduate Certificate program. Selected as a Fellow of the Rhetoric Society of America, and as a recipient of the National Communication Association's Douglas W. Ehninger Distinguished Rhetorical Scholar award for her career of research, she has also received national awards for her two books on the rhetoric of science, and for a couple of her articles. She serves on several editorial boards and is co-editor of a book series on Transdisciplinary Rhetoric sponsored by the Rhetoric Society of America and Penn State University Press. Dr. David A. Kirby (@king_gwangi and @CalPolyCLA) is Professor and Chair of the Department of Interdisciplinary Studies in the Liberal Arts and Director of the Science Technology & Society Program at Cal Poly in San Luis Obispo. His research examines how movies, television, and computer games act as vehicles of scientific communication. Several of his publications address the relationship between cinema, genetics and biotechnology. He has also explored the collaboration between scientists and the entertainment industry in his book "Lab Coats in Hollywood: Science, Scientists and Cinema." He is currently writing a book titled "Indecent Science: Religion, Science, and Movie Censorship." GES Colloquium is jointly taught by Drs. Jen Baltzegar and Dawn Rodriguez-Ward, who you may contact with any class-specific questions. Colloquium will be held in-person in Poe 202, as well as live-streamed via Zoom. Please subscribe to the GES newsletter and Twitter for updates . Genetic Engineering and Society Center GES Colloquium - Tuesdays 12-1PM (via Zoom) NC State University | http://go.ncsu.edu/ges-colloquium GES Mediasite - See videos, full abstracts, speaker bios, and slides https://go.ncsu.edu/ges-mediasite Twitter - https://twitter.com/GESCenterNCSU GES Center - Integrating scientific knowledge & diverse public values in shaping the futures of biotechnology. Find out more at https://ges-center-lectures-ncsu.pinecast.co

If “facts are facts,” why don’t they hold up against skepticism or doubt? Maybe because we need to find the emotional truth inside all of that data. Featuring Mona Chalabi from The Guardian US, Tali Sharot from University College London, and David A. Kirby from University of Manchester.

This week on The Spectator Film Podcast… Island of Lost Souls (1932) 8.10.19 Featuring: Austin, Maxx Commentary track begins at 11:21 — Notes — We watched The Criterion Collection release of the Island of Dr. Moreau for this week’s episode. It’s a fantastic release as usual, and comes with an additional commentary track and many other supplemental features. “Are We Not Men? The Horror of Eugenics in The Island of Dr. Moreau” by David A. Kirby from Paradoxa — This will link you to a PDF version of the article we mentioned later in the episode. While this article expressed similar ideas to those we discussed during the show, it does so with an intelligent awareness of the history of Eugenics in the US (i.e., it’s more articulate). Highly recommended read for anyone with an interest in Island of Lost Souls and other comparable films. On a related note, Paradoxa seems like a pretty fun magazine as well.  

In this episode, Rachel and Nathan discuss the 1997 Sci-Fi cult classic, “Gattica,” starring s Ethan Hawke, Uma Thurman, Jude Law, Loren Dean, Ernest Borgnine, Gore Vidal, and Alan Arkin. Gattaca is a “Biopunk” film that tells of the potential despotic future where genetic manipulation rules the day. After that, Rachel and Nate talk about their experience with 23andMe. The essay referenced in the podcast by David A. Kirby can be read here.

  Join comedian Robin Ince to explore the uncharted territories of unthinkable, forgotten and dream commissions. Following a scene-setting talk, Robin is joined by academic, David A. Kirby, writer and campaigner, Alice Bell and Executive Producer, Tom Gorham to glean from the history of science, the silver screen and science fiction.

First things first: this was probably the most fun I've had working through an STS monograph. (Really: Who doesn't like reading about Jurassic Park and King Kong?) In addition to being full of wonderful anecdotes about the film and television industries, David Kirby‘s Lab Coats in Hollywood: Science, Scientists, and Cinema (MIT Press, 2011) is also a very enlightening exploration of the role of science consultants on television and in film, and the negotiations of expertise involved in relationships between scientists and the cinema. Scholars of STS will recognize some of the major themes that Kirby raises in the course of a fascinating look behind the scenes of the cinematic production of “science”: negotiated definitions of accuracy and plausibility, technologies of virtual witnessing, the social construction of knowledge. Many of the chapters will change the way you see representations of scientists and their work in the movies and on TV, and Kirby's description of the filmic use of “diegetic prototypes,” or cinematic depictions of future technologies, is a stand-alone contribution in itself. This is a must-read for anyone interested in popular representations of science. Kirby describes the ways that visual media interpret, naturalize, and engage with scientific theories (be they well-accepted, controversial, or fantastical), and how some scientists in turn manipulate cinematic depictions for their own ends. Plus, have I mentioned how much fun it is? Check out David's recent discussion of the film Prometheus!   Learn more about your ad choices. Visit megaphone.fm/adchoices

First things first: this was probably the most fun I’ve had working through an STS monograph. (Really: Who doesn’t like reading about Jurassic Park and King Kong?) In addition to being full of wonderful anecdotes about the film and television industries, David Kirby‘s Lab Coats in Hollywood: Science, Scientists, and Cinema (MIT Press, 2011) is also a very enlightening exploration of the role of science consultants on television and in film, and the negotiations of expertise involved in relationships between scientists and the cinema. Scholars of STS will recognize some of the major themes that Kirby raises in the course of a fascinating look behind the scenes of the cinematic production of “science”: negotiated definitions of accuracy and plausibility, technologies of virtual witnessing, the social construction of knowledge. Many of the chapters will change the way you see representations of scientists and their work in the movies and on TV, and Kirby’s description of the filmic use of “diegetic prototypes,” or cinematic depictions of future technologies, is a stand-alone contribution in itself. This is a must-read for anyone interested in popular representations of science. Kirby describes the ways that visual media interpret, naturalize, and engage with scientific theories (be they well-accepted, controversial, or fantastical), and how some scientists in turn manipulate cinematic depictions for their own ends. Plus, have I mentioned how much fun it is? Check out David’s recent discussion of the film Prometheus!   Learn more about your ad choices. Visit megaphone.fm/adchoices

First things first: this was probably the most fun I’ve had working through an STS monograph. (Really: Who doesn’t like reading about Jurassic Park and King Kong?) In addition to being full of wonderful anecdotes about the film and television industries, David Kirby‘s Lab Coats in Hollywood: Science, Scientists, and... Learn more about your ad choices. Visit megaphone.fm/adchoices

First things first: this was probably the most fun I’ve had working through an STS monograph. (Really: Who doesn’t like reading about Jurassic Park and King Kong?) In addition to being full of wonderful anecdotes about the film and television industries, David Kirby‘s Lab Coats in Hollywood: Science, Scientists, and Cinema (MIT Press, 2011) is also a very enlightening exploration of the role of science consultants on television and in film, and the negotiations of expertise involved in relationships between scientists and the cinema. Scholars of STS will recognize some of the major themes that Kirby raises in the course of a fascinating look behind the scenes of the cinematic production of “science”: negotiated definitions of accuracy and plausibility, technologies of virtual witnessing, the social construction of knowledge. Many of the chapters will change the way you see representations of scientists and their work in the movies and on TV, and Kirby’s description of the filmic use of “diegetic prototypes,” or cinematic depictions of future technologies, is a stand-alone contribution in itself. This is a must-read for anyone interested in popular representations of science. Kirby describes the ways that visual media interpret, naturalize, and engage with scientific theories (be they well-accepted, controversial, or fantastical), and how some scientists in turn manipulate cinematic depictions for their own ends. Plus, have I mentioned how much fun it is? Check out David’s recent discussion of the film Prometheus!   Learn more about your ad choices. Visit megaphone.fm/adchoices

First things first: this was probably the most fun I’ve had working through an STS monograph. (Really: Who doesn’t like reading about Jurassic Park and King Kong?) In addition to being full of wonderful anecdotes about the film and television industries, David Kirby‘s Lab Coats in Hollywood: Science, Scientists, and Cinema (MIT Press, 2011) is also a very enlightening exploration of the role of science consultants on television and in film, and the negotiations of expertise involved in relationships between scientists and the cinema. Scholars of STS will recognize some of the major themes that Kirby raises in the course of a fascinating look behind the scenes of the cinematic production of “science”: negotiated definitions of accuracy and plausibility, technologies of virtual witnessing, the social construction of knowledge. Many of the chapters will change the way you see representations of scientists and their work in the movies and on TV, and Kirby’s description of the filmic use of “diegetic prototypes,” or cinematic depictions of future technologies, is a stand-alone contribution in itself. This is a must-read for anyone interested in popular representations of science. Kirby describes the ways that visual media interpret, naturalize, and engage with scientific theories (be they well-accepted, controversial, or fantastical), and how some scientists in turn manipulate cinematic depictions for their own ends. Plus, have I mentioned how much fun it is? Check out David’s recent discussion of the film Prometheus!   Learn more about your ad choices. Visit megaphone.fm/adchoices