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El espectáculo de la conservación. El Parque Nacional de Doñana en El Hombre y la Tierra (1979)
Abstract
A finales de la década de los setenta, se emitieron cuatro documentales dedicados al Parque Nacional de Doñana en la serie de Televisión Española El Hombre y la Tierra, dirigida por Félix Rodríguez de la Fuente. A través del relato del ciclo vital en el Parque –cada documental se correspondía con una estación del año–, estos capítulos constituyeron una celebración de la lucha por la conservación del patrimonio natural, cuyo significado se articuló en relación con una cuidada representación tanto de la naturaleza como de las ciencias naturales. Este artículo analiza cómo en un contexto histórico y político muy complejo, y mediante el espectáculo del éxito y de la fragilidad del Parque Nacional de Doñana, Rodríguez de la Fuente representó la sensibilidad hacia la naturaleza, hacia el patrimonio natural, adquirida con el estudio de las ciencias naturales, como una pieza clave de modernización.
... The development of science content was soon considered an essential goal as well as a challenge in the design of education strategies through television, as it was happening in neighboring democratic contexts (Boon 2008(Boon , 2014a(Boon , 2014bLaFollette 2012;Gouyon 2014;Boon and Gouyon 2014). Importantly, and drawing from the notion that documentary filmmaking was the main way to generate the necessary virtual witnessing experience of authority, science programming based on documentaries was deemed the main source of expert-managed truths to be levied on the population at large (Alcalá- Lorente and Tabernero 2016;Tabernero 2016). ...
Argument
Franco's fascist regime in Spain (1939-1975) offers the possibility of exploring the complex relationship between media communication practices and the processes of production, circulation, and management of knowledge. The regime persistently used film, and later on television, as indoctrination and disciplining devices. These media thus served to shape the regime's representation, which largely relied on the generation of positive attitudes of adherence to the rulers through people's submission and obedience to experts. This article examines the changing nature of modernization discourses and practices, as a fundamental element of the regime's propaganda strategies, and as portrayed in documentaries produced under its rule. The rhetoric of modernization involved an explicit deficit model of knowledge management, which aimed at legitimating the regime's deeds and policies in its first decades, as we shall see regarding colonial-medical documentaries produced for the official newsreel in the 1940s. However, the focus of such rhetoric, despite its enduring political aims, had to somehow open up as the relationship between experts and non-experts changed, both in epistemological and practical terms, such as in wildlife documentary films produced for television in the 1970s, the regime's last decade.
Félix Rodríguez de la Fuente’s immensely popular wildlife film series Fauna ibérica (1975–1981) has been credited with having transformed Spaniards’ attitudes toward Iberian wildlife. In this article, I show how Fauna ibérica materially enacted the abstract idea of a modern “national Nature” by forging a material-semiotic network that wove together legal, scientific and literary discourse; living animals; technological objects; state television audiences and the new nature-conservation agencies of the Spanish state. On one hand, abstract discourse was attached to particular animal bodies and spaces, which, after having been physically subjugated, framed and translated through film technologies, became durable, portable and fascinating natural objects for the enjoyment of mass audiences. In this way, Fauna ibérica contributed to establishing narrow limits for environmentally oriented civic and political action by establishing what valuable Nature is, where it is located, how it can be known and managed and how it relates to the modern state and local television audiences during the Transition. Fauna ibérica also created connections between people and wild animals by inscribing class hierarchies and patriarchal gender norms and values as a sociobiological truth that could be observed in Spain’s “national Nature”.
Documentary reconstruction is a creative production decision which involves reconstructing a reality or event rather than filming it as it occurs spontaneously. This article studies the use of the resource in the filming of nature documentaries for the series El Hombre y la Tierra. All of the action scenes in the series were reconstructions, which required rehearsals and involved a large amount of editing work. Without documentary reconstruction and the handling of animals it would have been impossible to film the majority of the hunting sequences, and the series never would have achieved the success that it did. Even today El Hombre y la Tierra is a point of reference in entertainment in nature documentaries and continues to raise debate about how to communicate the lives of wild animals in a respectful and truthful way to ever more demanding audiences, as well as about the need for, and boundaries of, entertainment in scientific television programmes.
El concurso ha sido uno de los contenidos audiovisuales con mayor presencia a lo largo de la historia de la television mediante producciones que ofrecieron en sus narraciones un imaginario donde la puesta en escena y la gesta de los participantes lo convirtieron en el paradigma del entretenimiento televisivo. El presente articulo parte de esta premisa para analizar su importancia como referente historico en television con un recorrido a traves de sus formas de representacion desde el inicio de la pequena pantalla hasta los albores de la Transicion en Espana.
This paper explores the complex relationship between two sets of practices and discourses that are essential constituents of the processes of construction and functioning of contemporary societies: medicine-health and mass media. Two context-linked and overtly contrasting case studies help illustrate the intricate dynamics of scientific-medical knowledge management, that is, from its generation and circulation to its appropriation, as articulated through mass media: first, the Spanish libertarian movement strategies of re-signification of officially sanctioned medical-health knowledge as conveyed in a medical Q&A section of a 1930s Spanish anarchist magazine; and second, the use of medical-health policies, as applied to colonial settings and portrayed through documentary films, as a crucial element for the legitimizing strategies of Franco's fascist regime in the 1940s. By pondering them jointly, and owing to the radical opposition of the approaches to knowledge management they represent, we show the application of a combined theoretical framework to tackle these processes. On the one hand, the multidimensional, social and professional inclusion-exclusion dynamics involved in the construction and circulation of scientific-medical knowledge is considered. On the other, the communication practices and discourses that are conducive of these dynamics are explored.
This study assesses the current state of science in TV and its future challenges. The assessments are based in substantial parts on a couple of comparative empirical media studies published in the last decade. The focus of these studies was either on the production of science contents in European TV, or on the reception of these contents by European Audiences. This paper integrates both perspectives into a comprehensive picture in order to unlock the basic interplay between supply and demand of Science in TV. It is diagnosed that the supply of specialised programmes is predominantly dependent upon financially strong and conveniently structured public service channels, especially the presence of small public niche channels is key to explain the considerable differences of programme offers across Europe. It is further diagnosed that the demand for these programmes by European audiences in general is not sufficient to stimulate production, of special relevance is the lack of appeal for younger viewers. We conclude by identifying main challenges TV producers face when trying to reach the largest possible audience.
There is frequent conflict between different environmentalisms, particularly between those which are central to the aspirations of modern capitalism, and those arising from more marginal livelihoods. This article outlines the power of one environmentalism, international wildlife conservation, and its allegiances with capitalism. This form of environmentalism can be poorly grounded in the worldviews of people living near protected wildlife habitat, and in conflict with their environmental concerns. Its power, and local disconnections, are clearly visible in the celebrification of wildlife conservation. The article examines the role of celebrity in sustaining powerful environmentalisms. It outlines the work of celebrities who support conservation, and then considers the role of celebrity conservationists (who owe their fame to conservation). I argue that collaboration between conservation and celebrity is more than a mere marriage of convenience between two groups seeking favourable publicity. Celebrity conservation is arguably an inevitable consequence of modern capitalism.
For nearly eighty years, filmed images of the natural world conformed to the classic documentary aesthetic: Such images were perceived to be an expansion of human vision, a means of entering into a world that was invisible to the human eye. Today, the impulse to document nature is augmented by the much higher stakes endeavor of "preserving" animal life in a virtual world. Looking over the precipice of an earth depopulated of its wildlife, the goal of nature filmmakers becomes the capture of animals, at least in images, so that society and science have a record of what was lost.
This article interprets television as a social and political medium. On the one hand, it examines the principal ways that Franco's government, during its final years in power (1968-1975), managed and used it for social ends. And, on the other hand, it analyzes various ways in which contemporary Spanish television represents historical periods by evoking key characteristics that defined its social configuration. The article then analyzes a series of similarities between the functions bestowed upon television by the Franquist power elite and the nostalgia-evoking strategies of some recent, made-for-television programs of historical fiction.
Popular culture is not the endpoint for the communication of fully developed scientific discourses; rather it constitutes a set of narratives, values and practices with which scientists have to engage in the heterogeneous processes of scientific work. In this paper I explore how one group of actors, involved in the development of both postwar natural history television and the professionalization of animal behaviour studies, manage this process. I draw inspiration from sociologists and historians of science, examining the boundary work involved in the definition and legitimation of scientific fields. Specifically, I chart the institution of animal ethology and natural history film-making in Britain through developing a relational account of the co-construction of this new science and its public form within the media. Substantively, the paper discusses the relationship between three genres of early natural history television, tracing their different associations with forms of public science, the spaces of the scientific field and the role of the camera as a tool of scientific observation. Through this analysis I account for the patterns of cooperation and divergence in the broadcasting and scientific visions of nature embedded in the first formations of the Natural History Unit of the British Broadcasting Corporation.
This article explores the ways in which television registered, and broadcast, colonial discourse in the specific context of Kenya and Britain in the 1950s. Focusing on the wildlife programming of the husband and wife team Armand and Michaela Denis as its case study, an examination of programmes such as Filming in Africa (BBC, 1955) and On Safari (BBC, 1957-65) is offered, looking at the ways in which these programmes negotiated the transition between colonial spectacle and a cosy, domestic address for British television. The article will explore what these programmes reveal about Britain's 'imagined Kenya' in the final years of colonial rule, and argue that it is possible to trace a colonial lament in this form of popular entertainment on the cusp of the decolonisation of Kenya. These programmes are thus interesting as examples of colonial television, that is, domestic television broadcasting made outside the UK by programme-makers who present themselves as being simultaneously 'at home' and 'abroad' on the BBC. Importantly, the programmes aimed to bridge a perceived gap between the 'outside world' of colonised 'wild' space and the 'inside world' of television's interior, domestic spaces. A history of the Denises' programmes is reconstructed by intertwining archival research into scripts, set designs, publicity materials and production notes with analyses of the programmes themselves.
During the formative years of radio broadcasting in the United States, information about science and medicine was initially packaged in formats common to educational settings, such as talks by individual scientists. Broadcasters eventually developed more appealing presentation approaches, adapting to the American listeners'expressed preference for drama and fast-paced entertainment, although the scientific community often hesitated to participate in such efforts to reach mass audiences. This survey of U.S. radio programming examines informational science series, broadcast from the 1920s through the 1940s, and the role played by key individuals, associations, and corporate underwriters. It identifies several trends pertinent to understanding the state of popular science communication today and raises questions for future research by historians of science communication.
Natural history programming is one of the mainstays of 'flagship' broadcasting in Britain. From thie geographically expansive documentary series of the 1950s to recent forays into interactive television, the BBC has promoted the genre as justification of the licence fee. This article examines The Blue Planet (200 l), focusing on the role of aesthetics in the quality television debate. Combining close analyses of the programme with data collected during a public screening of highlights fronm the series in 1--hyde Park, London (2002), -[he article proposes that: The Blue Planet's visual arid aural splendour has been figured as an integral part of the public service that it provides. In order to situate this argument within the ongoing debate about quality television and public service broadcasting, this article draws oil earlier critical discussions of heritage television. It is concluded that flagship television is antithetical to the notion of quality television if we reintrodutice the concept of 'flow' into the debate.
Natural history has long been a staple genre on British television. Encompassing a varied range of texts, the genre has managed to retain a foothold in an increasingly diverse schedule. However, generic codes and conventions have dramatically altered, and the author examines these changes. Using the concept of spectacle, she explores the many ways in which contemporary natural history is now presented.
Mary Adams was a science producer at the BBC from 1930-6. She is shown to have played a crucial role in shaping science broadcasts, in particular devising formats and styles of presentation. However, her approach is shown to have been primarily motivated by broadcasting considerations rather than by the popularisation of science. Through her interaction with scientists she helped to construct a new professional domain, that of the science-broadcasting professional, at a time when other producers were creating analogous roles in other areas of broadcasting. This paper is based largely on unpublished archival documents.
The notion of `the public understanding of science' is ambiguous. It is not the findings of science that are crucial, but the public understanding of science as a knowledge-producing activity. Two television broadcasts on science are described and analyzed. Features typical of science broadcasting, with their implicit epistemological messages, are discussed. The public understanding of science is affected by the way such programmes portray science as a producer of certainty. The first programme deals with a controversy in an area of low status. While this allows an uncertain face of science to be glimpsed, it is with us only for a narrow slot in time — the present. We are shown only a small `window of uncertainty' set within walls of certainty that extend into the past and the future. The second programme confirms this analysis. The first programme puts us in a position to follow the window of uncertainty in real time. An experiment discussed in the programme — the carbon-dating test on the Shroud of Turin — is about to happen. It is predicted that the carbon-dating test will move into the `window of uncertainty' as we approach it.
This article describes my experiences teaching a course on Transmedia Entertainment and Storytelling at the University of Southern California, a course which sought to bridge across multiple media and methodologies, to integrate the perspectives of industry insiders, and to encourage students to apply what they learn to the challenge of “pitching” a media franchise to a panel of creative practioners. The essay both shares the syllabus as a resource for other teachers and reflects on the challenges of teaching such cutting edge content.[Electronic Arts game designer] Neil Young talks about ‘additive comprehension.’ He cites the example of the director's cut of Blade Runner, where adding a small segment showing Deckard discovering an origami unicorn invited viewers to question whether Deckard might be a replicant: ‘That changes your whole perception of the film, your perception of the ending … The challenge for us, especially with the Lord of the Rings is how do we deliver that one piece of information that makes you look at the films differently?’ Henry Jenkins, Convergence Culture: Where Old and New Media Collide (2006)
The wildlife television documentary is an important but problematic genre, located between education and entertainment. Noting that the genre has characteristics that may increase its impact on the audience, this paper reviews its potential significance for science communication through a case study of the presentation of issues relating to evolution. First, the continuing popular and political support for creationism is examined, and then the new movement in support of Intelligent Design Creationism outlined. Based on an extensive sample of internationally produced programs, the research findings discussed in the paper focus on two dominant sub-genres: "blue chip" and "presenter-led." While the former has higher production values and asserts greater authority, the pressures for a strong narrative discourage explorations of the contingency and amorality of evolution. The outcome is, typically, a text that does not challenge creationist accounts and may even implicitly endorse them. Paradoxically, we argue, although the presenter-led format is regarded as lower status within the media industry, it may offer more opportunities for conveying the complexity that is associated with evolution-ary accounts. The authors conclude that the market context of television wildlife programming means that educational and entertainment aims and claims are indeed in tension, but with a counter-intuitive outcome.
Exposición de algunos recursos y técnicas para la divulgación científica por medio de los géneros documentales de los medios audiovisuales. El autor aborda aspectos en los que reside la eficacia de la divulgación científica audiovisual, tales como la simplificación de los contenidos; la construcciones de los relatos audiovisuales y los modos de argumentación que permiten llegar con eficacia hasta el gran público. El desarrollo del planteamiento integra con frecuencia ejemplos y opiniones del guionista y presentador británico David Attenborough, autor de las series El planeta viviente y La vida privada de las plantas.
Los denominados think tank -fenómeno eminentemente norteamericano o, a lo sumo, anglosajón, aunque su expansión en los países desarrollados es notable- pueden ser considerados públicos especiales de los programas de comunicación corporativa promovidos principalmente por grupos de presión, al tiempo que son, "per se", actores privilegiados de la actual comunicación política, cada día más nutrida por las técnicas de las relaciones públicas. No obstante, la evolución de estos institutos de análisis político en los últimos tiempos los está asimilando operativamente a los grupos de presión tradicionales, siendo organizaciones que promueven, como éstos, mayoritariamente estrategias de relaciones públicas. Esta ambivalencia los convierte en un objeto de análisis relevante para el estudioso de la comunicación política y de las relaciones públicas.
Winner of the History of Science Society's Watson Davis and Helen Miles Davis Prize in the History of Science. From the early exploits of Teddy Roosevelt in Africa to blockbuster films such as March of the Penguins, Gregg Mitman's Reel Nature reveals how changing values, scientific developments, and new technologies have come to shape American encounters with wildlife on and off the big screen. Whether crafted to elicit thrills or to educate audiences about the real-life drama of threatened wildlife, nature films then and now have had an enormous impact on how Americans see, think about, consume, and struggle to protect animals across the globe. Gregg Mitman is William Coleman Professor of the History of Science and Interim Director of the Nelson Institute for Environmental Studies at the University of Wisconsin-Madison. "Gregg Mitman's Reel Nature isn't a book about natural history filmmaking, it's the book: it's the one I recommend to all our students." - Lloyd Spencer Davis, Centre for Science Communication, University of Otago, Dunedin, New Zealand "As the popularity of natural history television continues to soar, we need a book like this to help us understand the influences that this 'electronic environment' may have on the ultimate survival of our natural one." - Thomas Veltre, Wildlife Conservation Society "A wonderful book that takes the reader into the worlds of dog and dolphin TV stars, on-screen wildlife conservation, and popular nature films. Readers will never see their animal familiars in the same way again." - Donna Haraway, University of California, Santa Cruz "Few books offer greater insight into the cultural history of American ideas of nature during the twentieth century than this one. Whether one cares about the history of filmmaking, the evolution of American environmental attitudes, or the ways that science, commerce, and entertainment have shaped each other in the creation of American consumer culture, Reel Nature is essential reading. © 2009 by the University of Washington Press. All rights reserved.
[n]osotros aprovechamos estos momentos de transición para mostrarles […]" (El Parque Nacional de Doñana I. La invernada de los gansos); "[…] tenemos nosotros la oportunidad de descubrir
- Algunas De Estas Expresiones Utilizadas, En Orden De Aparición
- Lo Largo De Los Cuatro Capítulos
Algunas de estas expresiones utilizadas, en orden de aparición,
a lo largo de los cuatro capítulos: "[n]osotros aprovechamos
estos momentos de transición para mostrarles […]" (El Parque
Nacional de Doñana I. La invernada de los gansos); "[…] tenemos nosotros la oportunidad de descubrir […]", "[y] podemos
nosotros contemplar […] por eso tienen mayor interés estas
filmaciones […]", "[n]o nos hemos atrevido a turbar antes su
delicada infancia con la presencia de nuestras cámaras.", "[c]
omo pudimos comprobar a lo largo de nuestras filmaciones
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