Titlebook: Science, Entertainment and Television Documentary; Vincent Campbell Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 science

沉默

四溢

Palaeontology: Monsters from Lost Worlds, late 1990s. This chapter analyses factual entertainment and television documentary programmes on palaeontology with a particular focus on the representational traditions of palaeoimagery. Campbell explores how traditions within natural history films, such as the ‘blue chip’ series of David Attenbor

lattice

Archaeology: Ancient Secrets and Treasures,ary television. This chapter focuses on trends for generic hybridity in archaeology programmes using game show, true crime and drama documentary formats alongside well-established documentary formats for depicting the past and producing a distinctive archaeological gaze on television. Campbell conce

令人不快

acclimate

Pseudoscience and Popular Beliefs,levision channels, dealing with pseudoscientific topics such as ufology, parapsychology and cryptozoology. Despite being ‘for entertainment purposes only’ the chapter shows how programmes on pseudoscience and popular beliefs regularly draw on the ‘trappings of science’ and the techniques of document

有角

Mumble

FANG

Vincent Campbells, we provide an explanation for convergence. Finally, the concept of technological distance is used for signalling bottlenecks and economic waste in regional production. Best performing technologies are obviously more capital intensive and less labour intensive.

火車車輪

擋泥板

Vincent Campbellt have been possible. We should like, in addition, to thank Angela Spence for her careful linguistic editing and assistance in co-ordinating the production of the camera ready copy. Lastly, but not least, we wish to express our gratitude for support from our home institutions, and in particular the