Investigating Hollywood Science using Feature Film and Probeware
John C. Park
Department of Curriculum and Instruction, Baylor University, USA
John_C_Park@baylor.edu
Jessica Stephens
Department of Curriculum and Instruction, Baylor University, USA
Jessica_Stephens@baylor.edu
Abstract: Movies are a good source of problems for scientific analysis. Over time we become
conditioned to accept Hollywood science that permeates most fantasy, science fiction, and action /
adventure films. But science exaggerations can be found in even the most innocuous films. “Can
that really happen”, “How does he do that” or “Can I do that” are some questions that can engage
student in the problem. Through the use of selected movies and probeware, students can explore
concepts presented in film, and compare them to their own physical performance. Examples of
merging probeware with cinema are discussed.
Introduction
I was born during the golden age of television. Although my parents were sharecroppers and were able to
eek out a meager living, they were able to sell some livestock to purchase a state-of-the-art Zenith black and white
television in 1953. Although work on the farm was difficult during the day, the evenings in front of the TV was
quite entertaining. The content of the shows was not really important, but the excitement was in the watching of the
three channels that were available at the time.
Figure 1. Tough economic times did not inhibit the acquisition of a modern television in the 1950’s.
Westerns were a major staple for our entertainment, as well as The Adventures of Superman. My father
was a critical viewer of the events in some of the shows. For example, he would say things like “how can a single
candle illuminate that entire room”, “how does that one lantern produce two shadows of the same object on the
wall”, or “can tires really squeal like that on a dirt road?”
About a decade later after getting our television, my father and I were watching a Wagon Train episode
“The Robert Harrison Clark Story”. In this episode, members of the wagon train found themselves in a predicament.
In order to escape total annihilation, someone had to hit a target that was very far away. One of the members of the
party was a skilled big-game hunter. He took careful aim at the target and gently pulled the trigger. After a few
seconds it seemed that all hope was lost, but after a dozen seconds or more, the target was struck! I remember
turning to my father and asking “Can that really happen?” My father smiled gently and shook his head no. I was
becoming a critical viewer.
Fast forward to 1986 to when I was watching an episode of Wagon Train on cable television with my three
children. I remembered that this was the same episode that I had watched with my father 23 years earlier! I quickly
put in a blank VHS tape into the VCR and began recording the episode. Having a background in physics, I realized
that if I could find the flight time of the bullet, I could do a few calculations to see if the event was possible. The
wagon master Chris Hale told is scout, Cooper Smith, that the distance was “a good mile”. The time it took from the
bullet to be shot to when it hit its target was 13 seconds. Assuming that the distance was one mile, the bullet had an
average velocity from the rifle to the target of 280 miles per hour (126 m/s, 406 ft/s). Accounting for air resistance
for that length of time, the calculated velocity is within the ballpark of the muzzle velocity of a rifle in 1870. But
does a projectile travel in a straight line? As soon as the bullet leaves the barrel, gravity influences the path of the
bullet: the bullet accelerates downward from its initial straight-line path at a rate of about 10 m/s/s. After 13
seconds, the bullet would have fallen about 850 meters. How does that result change the angle at which the bullet is
shot? Notice that this event presents a good problem for anyone studying projectile motion!
I began to use this scene in both my physics classes and science education classes at the university and I
found it to be an engaging method to teach concepts of motion. I searched for other scenes that could be used for
quantitative analysis, and discovered a large number of vignettes that could be used as problems in physics. Using a
few assumptions, measurements of time or relative distances, many concepts in science can be studied using
quantitative methods.
Background
One of the earliest published article describing methods of using feature film media for initiation of science
discussions was by Dubeck. (1981). Initial descriptions of their use tended to focus on science fiction film
presentations of pseudoscience which included qualitative methods of use. Dubeck, Moshier, and Boss (1988)
describe methods to use 10 films in depth and an additional 24 films in less detail. Discussion on the ten films
included detailed plot summaries, point-by-point discussion of scientific issues, and questions that teachers could
ask the students after viewing the scenes.
Early literature in the use of cinema for science inquiry addressed qualitative analysis of the events in the
movies. However, two of the earliest descriptions of quantitative analysis of movie scenes are found in Park and
Lamb (1992) and Zollman (1992), both dealing with physics concepts. Park and Lamb suggest that measurement
can be made directly and indirectly from the video (specifically time measurements and distance measurements) that
provide “what if” questions that promote inquiry regarding motion. Zollman uses the power of estimation to
calculate the heat of fusion of the wicked witch who was splashed with water by Dorothy and “melted”.
Two areas of science provide the greatest amount of literature concerning the use of cinema for science
inquiry: Physics and biology. The physics examples use quantitative techniques. Epthimiou and Llewellyn describe
the use of movies to generate Fermi problems (2007), and to generate many problems in mechanics through a single
film (2006). Dark (2005) investigates plans to split an asteroid heading to earth. Young and Guillot (2008) explore
projectile motion, conservation of momentum, and optics. Dennis (2006) uses a different kind of movie, Forrest
Gump, to study running velocity. Testa (2007) explores electromagnetism.
The biology literature uses movie science in more of a qualitative style. Lavoie (1995) takes a general
science approach and discusses ways to use cinema, television, and commercials for science lessons. Genetic
determinism and Gene Therapy is explored extensively through the use of the movie GATTACA in Kirby (2000).
Rose (2003) describes his course Biology in the Movies by elaborating on four movies regarding resurrecting or
recreating life. Various topics in life science are discussed in Berumen (2008) using Finding Nemo, Jurassic Park,
Happy Feet, and A Bug’s Life.
Other science content areas discussed in the literature are included in Frey, et. al. (2012) on chemistry, and
Clemens (2010) on sustainability.
Smith (2009) continues the use of science fiction themes, but Smith focuses on science fiction literature,
not film. He suggested that these stories would provide scientific ideas with a context that would allow students to
remember easier than through a physics textbook. He developed a non-majors course using science fiction
literature. Classic science fiction literatures such as From the Earth To the Moon, The Time Machine and Flatland
were used. One of the first proponents for using science fiction literature to teach science was Isaac Asimov (1968).
For more ideas for using science fiction literature in science teaching, see Raham (2004).
Research Studies
Early studies of the qualitative use of feature films have positive outcomes. Dubeck et al. (1990) reports
that the teachers thought the methods of cinema use in physics were an effective technique. For ninth graders and
above, the use of the science fiction films enhanced “at least one of the following three variables in 80 percent of the
test cases… attitude toward science, knowledge of science as a discovery process, and cognitive development” (p.
316).
Efthimiou and Llewellyn (2004) report that student performance on individual exams and overall were
improved in the course sections that use physics in films when compared to the traditional sections. Students also
said the course was more interesting and that they would recommend the course to their friends.
Kirby (2008) reviews cinematic science research in popular film around four basic research questions: 1)
How is science representation constructed in the production of the film (production); 2) How much science and what
kind of science appears in film (content analysis); 3) What are the cultural interpretations of science and technology
in popular films (cultural meaning); and 4) What effect does the fictional portrayal of science have on science
literacy and public attitudes towards science (media effect). Kirby only briefly mentions the growing use of cinema
as a pedagogical tool for teaching science, but no research was discussed.
Science in Cinema is a film festival for the general public that was held in Bethesda, MD, beginning in
1994. One film per week for six weeks was screened. The film was introduces, as well as a guest speaker with
expertise about the scientific or public health issue presented in the film. Following the viewing of the film
provided additional information and fielded questions from the audience. The goals of the event was 1) to educate
the public about scientific topics addressed in the film; 2) increase public awareness of Hollywood’s tendency to add
fictional elements to films; 3) correct common misconceptions that result from the media; and 4) promote the
visibility of the missions of the different institutes at the NIH. Von Secker (2001) provided a feasibility evaluation
of the program. Within that report, Von Secker reports that there is no evidence that the program corrects common
misconceptions about scientific research and public health issues that result from fictionalized portrayals in the
media. She recommends the goal of correcting misconceptions should be modified, since misconceptions tend to be
pervasive and highly resistant to change, especially by traditional teaching methods. She continues, “future attempts
to achieve this goal are impractical given the short duration of the intervention and the limited fiscal and
administrative resources allocated for this program” (p. 6).
Barnett et al. (2006) reported that there have been very few studies that have examined the impact of feature
film on student understanding of science concepts. Most of the reported research on science understanding from film
examined how the students or public perceives science as presented on the film, and how the film represents how
science is done. In their research, they found that the middle school students who watched The Core had a number
of misunderstandings of earth science concepts compared to the students who did not watch the movie. In their
discussion of instructional implications, they state
Our findings suggests that popular science film can have a substantial impact on students’ scientific ideas and as such it is
important that teachers and science educators be aware of the ideas that are presented in popular movies as they may be a
significant source of student misconceptions. (p. 189)
The initial step in the 5E Learning Cycle is to engage the student “in a new concept through the use of short
activities that promote curiosity and elicit prior knowledge” (Bybee et al., 2006). Allen, Duch, and Groh (1996)
suggest that selected scenes from feature films can serve as a very useful source for problem-based learning
environments in undergraduate science. The use of feature film in science teaching deserves more research.
There are three research-based technologies that improve student learning of science: Simulations, moving
images (video vignettes, animations), and probeware (Webb, 2008). The remainder of the paper focuses on
combining two of these technologies to promote engagement in science and scientific inquiry.
Superscience: Exploring the Superhero Within
Cinema clips can either be used to initiate inquiry by showing the clip at the beginning of a science activity,
or they can be used as extensions for elaboration after the activity. The following descriptions of activities have
been field tested with science education pre-service teachers that incorporate both movies and probeware. The
following describes some of our activities.
Factors that influence jumping height
Superheroes have many different physical abilities, far above what mere mortals can perform. But even
within the mortal population, there can be huge differences from person to person. For example, athletes in certain
sports can display amazing vertical jumping skills. Office workers probably cannot jump as high.
Your Tasks
Task 1: How high is your vertical jump? Meet with your group to brainstorm a method that would allow you to
measure the vertical jump of each person in your group. The jump height is the difference between standing height
to the maximum height that can be reached.
Task 2: Share your ideas with the rest of the class to determine a measurement method that will be common to all
groups.
Task 3: Take multiple measurements for each member of your group to determine the average maximum jump
height.
Task 4: Generate some ideas why some people are able to have a higher vertical jump than other people. What are
the scientific factors that are involved in high vertical jumps?
Task 5: Select the data from the person who jumped the highest. From that average height, determine the speed of
the person the instant they left the surface of the floor. Where does the jumper have the most kinetic energy?
Where does the jumper have the most potential energy? All the kinetic energy is converted to potential energy at the
apex of the jump, or
KE = PE
½ * m * v2 = m * g * h
2 * (1/2 * m * v2) = 2 *(m * g * h)
v 2 = 2*g*h
v=
2*g*h
So the maximum velocity is calculated knowing the acceleration due to gravity (9.8 m/s/s) and the jump height in
meters.
Maximum velocity = _______________________________ m/s
So based on the energy equations, the velocity of the person at the instant they leave the ground determines how
high they jump!
Task 6. Revisit your answers to Task 4. What factors influence the maximum velocity of the jumper?
Super Comparisons
In the original superman comic book, Superman had only a few powers. “When maturity was reached, he
discovered he could easily leap 1/8th of a mile, hurdle a twenty story building, raise tremendous weights, run faster
than an express train, and that nothing less than a bursting shell could penetrate his skin” (Siegal and Shuster,
1938).
One meter is a good jump for many amateur athletes, but how high is a 20-story building? It depends on the kind of
building (office building or residential building) and when it was built. According to one web site, an equation to
calculate the height of an office building in meters is:
H = 3.9s + 11.7 + 3.9(s/20), where s = number of stories.
Therefore, 20 stories has an estimated height of (3.9 * 20) + 11.7 + 3.9(20/20) = 94 meters. How fast would
Superman have to leave the ground to jump a height of 94 meters? Use the energy equation we used before:
v=
(2 * g * h ,
where g = 9.8 m/s/s and h is in meters.
Superman’s “launch velocity” = ____________________________ m/s.
43 m/s
How fast is that in miles per hour?
96 mph
What is Superman’s kinetic energy at “launch velocity”? In order to find that out, you need to know Superman’s
mass, which can be calculated from his weight. Superman tells Lois Lane his vitals in Superman The Movie
(Salkind & Donner, 1978) during her interview with him. Check out the clip to find out his weight.
KE = ½ * m * v2 (in joules)
How many food calories would be required to make this jump? (4187 J per Cal)
92,000 J
22 Calories
This answer will make you think before you drink a sweetened soft drink! That would require a lot of jumps to use
that many Calories!
Required force for jumping specific heights
In the last activity, we learned your velocity the instant you leave the ground determines the maximum
height you can jump. So what determines that velocity? In this activity, you will compare the amount of force that
you and your classmates apply to the ground when you jump your highest, and explore the variables that determine
“launch velocity” and therefore jump height.
Explore the following tasks while measuring force using the Force Plate. Use the following settings: Time
= 5 seconds, data rate = 100 samples per second. Be sure to zero the force plate when no one is standing on it.
Task 1: Start the data collection. Stand on the force plate. Interpret the graph.
Task 2: Start the data collection while standing on the force plate. Squat down and then stand back straight.
Interpret the graph
Task 3: Start the data collection while standing on the force plate. Jump as high as you can. Interpret the graph.
Task 4: Stand on the plate, zero the force plate, and then start the data collection. Jump as high as possible.
Highlight the region of the graph that represents the net force of the plate on the jumper during the jump. What was
your average force during the jump phase of the graph?
Task 1
Figure 2. Representative graphs of requested tasks
Task 2
Task 3
When a person jumps, they squat down and then
push against the ground. Newton’s third law says
that the ground is pushing against the person with
an equal but opposite force. This is the force that
accelerates the jumper upward. When that force is
greater than the weight of the person, the person
accelerates upward.
What is the distance traveled while the force is
accelerating the person upward? Remember as
soon as the person leaves the ground, the ground no
longer provides a force on the person.
This picture shows the volleyball player at their
lowest position before they begin to jump, and the
position of the body the instant they leave the floor.
The graphics on the back of her shirt provide a
frame of reference to determine the relative jump
distance while still in contact with the floor.
In the original image, the change in reference
distance using the shirt graphic was 0.750 inches.
The distance from the top of the players head to her
heal was 4.285 inches. Using this information, by
knowing the height of the player, you can calculate
the distance the force acts on the jumper.
Assuming this jumper is 76 inches tall:
𝑑𝑖𝑠𝑡𝑎𝑛𝑐𝑒 𝑤ℎ𝑖𝑙𝑒 𝑖𝑛 𝑐𝑜𝑛𝑡𝑎𝑐𝑡 𝑤𝑖𝑡ℎ 𝑓𝑙𝑜𝑜𝑟
𝑎𝑐𝑡𝑢𝑎𝑙 ℎ𝑒𝑖𝑔ℎ𝑡 𝑜𝑓 𝑡ℎ𝑒 𝑗𝑢𝑚𝑝𝑡𝑒𝑟
𝑥 𝑖𝑛𝑐ℎ𝑒𝑠
76 𝑖𝑛𝑐ℎ𝑒𝑠
=
=
𝑐𝑜𝑛𝑡𝑎𝑐𝑡 𝑑𝑖𝑠𝑡𝑎𝑛𝑐𝑒 𝑖𝑛 𝑡ℎ𝑒 𝑖𝑚𝑎𝑔𝑒
𝑚𝑒𝑎𝑠𝑢𝑟𝑒𝑑 ℎ𝑒𝑖𝑔ℎ𝑡 𝑜𝑓 𝑖𝑚𝑎𝑔𝑒
0.750 𝑖𝑛𝑐ℎ𝑒𝑠
4.285 𝑖𝑛𝑐ℎ𝑒𝑠
𝑥 = 13.3 𝑖𝑛𝑐ℎ𝑒𝑠, 𝑜𝑟 0.34 𝑚𝑒𝑡𝑒𝑟𝑠
This represents the distance traveled while the net force that was accelerating the person. Why is this useful
information?
Super Comparison
We know that Superman is able to hurdle a 20-story building. From Activity 1, we calculated his speed immediately
upon leaving the surface as 43 meters/second, but we do not know his acceleration.
Acceleration can be calculated if the change in velocity is known, as well as the distance the jumper moves while the
net force acts on the feet of the jumper, as long as we assume a constant force is applied.
acceleration = (V2final – V2initial)
2*d
where
Vfinal = the velocity at the instant the feet leave the ground (43 m/s)
Vinitial = the velocity at the lowest point of the squat (0 m/s)
d = distance traveled during which the force was applied
Since Superman is 76 inches tall, we can assume the same distance as what was calculated for the volleyball player,
0.34 m.
What was Superman’s acceleration, assuming a constant force?
2700 m/s/s
How much time elapsed while Superman was accelerating? Remember that acceleration is the change of velocity /
change of time.
0.016 s
How does this elapsed time compare to the time as measured on YOUR graph?
Superman’s mass is roughly 100 kg. According to Newton’s Second Law, what is the average force that is required
for the calculated acceleration?
270,000 N
What was the maximum force during YOUR jump as indicated by the Task 4 graph?
How many pounds of force are that many Newtons?
Nearly 61,000 lbs
How might that force affect the surface from which he is jumping?
Summary
Although the call for using cinema for scientific inquiry has been loud in the past decade with no less than
12 books published on the topic, the generation and publication of specific lab activities has not kept pace. Using
probeware, along with movies as the source of problems, students can explore many concepts in the sciences. It is
our intent to create activities that can assist students to engage in these problems using technology for analysis of the
movie and for subsequent investigations.
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