![]() ![]() La première partie de l’article analyse les procédés pédagogiques employés pour enseigner au lecteur les connaissances de base sur le nucléaire. Cet article propose d’étudier les représentations du nucléaire et de la radioprotection dans cette bande dessinée, afin de montrer comment celle-ci illustre les grands axes de la doctrine du SPR. Cette oeuvre de vulgarisation scientifique et technique participe ainsi, malgré sa diffusion restreinte, au rayonnement de Marcoule, le site pionnier de l’industrie atomique en France. Celle-ci est réalisée en 1961 par Jacques Castan, membre du Bureau de Dessin du SPR. Son application repose sur des actions variées, telles que l’organisation de visites guidées du centre, la participation à des expositions et des manifestations régionales, ou encore la création d’une bande dessinée intitulée Sophie et Bruno au pays de l’atome. Sa mise en œuvre est assurée par un programme d’information destiné, selon les termes du SPR, à « éduquer » le grand public, en luttant contre les idées fausses et les préjugés sur le nucléaire. Le Service de Protection contre les Radiations (SPR) du CEA Marcoule élabore ainsi, dès la fin des années 1950, une doctrine qui présente une réflexion très aboutie sur ce sujet. L’impact des représentations du nucléaire sur l’opinion publique et les salariés des centrales a très tôt été perçu comme un enjeu majeur pour le développement de la filière. Finally, the third part shows how this representation fits into the nuclear debate in France. The second part puts the methodology into perspective and shows how workers in the sector are represented in a French film. The first part of this article outlines the methodology used to analyse how civilian nuclear power is represented in film. Nevertheless, some notable works make it possible to investigate the topic through a focus on the relationship of man to their work in the sector, in particular the challenges of subcontracting maintenance activities, which is represented in terms of modern slavery. However, there are far fewer films dedicated to the civilian use of nuclear power. The risk of nuclear conflict and the effects of radiation have inspired many filmmakers. Cinematic fiction as a media object contributes to our understanding of social reality and also exercises a major influence on public opinion, because of its ability to “colonize” awareness. This movie’s inherent freedom allowed us to play with different subgenres.Representations of the nuclear industry in European countries play a determining role in the public debate and the development of energy policies. It’s as if you took the girls from The Texas Chainsaw Massacre and, after kidnapping them, you used them as part of a dark ancestral ritual. In my case, “Edén” is a mix between folk horror and survival film. Rojas spoke about the different short films’ influences: “All of the segments are indebted to their own influences. ![]() In addition, I wanted to interpret loneliness as something suffocating, which locks you in a perceptual world where death is not the liberation of this same concept.”įor his part, Lucio A. ![]() Rage is comedy”.Ĭamilo León, for whom this film marks an international debut: “In “Frequency” I wanted to talk about loneliness, an often overlooked concept that can bring illness, fear, physical and psychological damage and even death. And of course a sweet revenge through its protagonist’s pyrokinesis, the power of internal rage. A sarcastic point of view toward irresponsible parenting and children’s minds when that happens. Sandra Arriagada, Chile’s first female director to present a feature at a fantasy film festival, said: “With “On Fire” I wanted to put into practice a subgenre that I have always loved, and that I have seen in many Asian productions, which is social satire in black comedy-slapstick. ![]()
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