Samer Angelone
Biographic Data
| ID | 911641 |
|---|---|
| NAME | Samer Angelone |
| GIVEN NAMES | Samer |
| FAMILY NAME | Angelone |
| SIGNATURE | ANGELONE S |
| AFFILIATIONS | Faculty of Philosophy and Letters, Cordoba University, Cordoba, Spain |
| ORCID | 0000-0003-0868-7276 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Environmental Humanities Switzerland ‐ a decade in retrospect
Environmental crises confront humanity with challenges that reach into all areas of society ‐ from poverty and exclusion, capitalism and finance, to forced migration, global health, and artificial intelligence. This article traces the history of saguf ’s working group Environmental Humanities from 2014 to 2025 and reflects on its contributions in Switzerland and beyond
Don’t Look Up
In my workshops, Storytelling and Storyboarding Science, I teach scientists how to use the narrative techniques and strategies employed in movies to produce persuasive presentations and publications. Although the movie Don’t Look Up was initially intended as an allegory about climate change and the idea that decision makers are not listening to scientists, this movie does in fact highlight important issues regarding how scientists communicate sci…
Storyboardgraphy
Throughout the history of filmmaking, storyboarding has been used to pre-visualise films and help with production. Here I propose a new film visualisation tool to complement storyboarding, which I call ‘Storyboardgraphy’ and define as a ‘film pre- and post-visualization tool showing shot sizes and lengths along a timeline’. A storyboardgraphic consists of two axes, with the X-axis representing the scene timeline, the Y-axis the size of the shots,…
Filmmaking courses for scientists help promote richer alternatives to chronological narratives
Scientists have the tendency to communicate their scientific accounts using linearly structured narratives (Introduction, Methods, Results and Discussion; IMRAD). Likewise, the linear narrative is dominant – due to force of habit – when scientists prepare films about their research. Yet, this does not necessarily have to be the case for the new generation of scientists-as-filmmakers, who is trained to appreciate and apply alternative narrative st…
A New Generation of Scientists-as-Filmmakers
Film is one of the most powerful tools for communicating science to peers and the general public. Recently, there has been a boom in demand for science films. To satisfy the demand for science films, universities and scientific institutes are now increasingly teaching their scientists and students how to produce their own films via accredited science filmmaking courses, which now form part of science communication programs. These courses are prod…
A New Generation of Scientists-as-Filmmakers
Film is one of the most powerful tools for communicating science to peers and the general public. Recently, there has been a boom in demand for science films. To satisfy the demand for science films, universities and scientific institutes are now increasingly teaching their scientists and students how to produce their own films via accredited science filmmaking courses, which now form part of science communication programs. These courses are prod…
A New Generation of Scientists-as-Filmmakers
Film is one of the most powerful tools for communicating science to peers and the general public. Recently, there has been a boom in demand for science films. To satisfy the demand for science films, universities and scientific institutes are now increasingly teaching their scientists and students how to produce their own films via accredited science filmmaking courses, which now form part of science communication programs. These courses are prod…
Filmmaking courses for scientists help promote richer alternatives to chronological narratives
Scientists have the tendency to communicate their scientific accounts using linearly structured narratives (Introduction, Methods, Results and Discussion; IMRAD). Likewise, the linear narrative is dominant – due to force of habit – when scientists prepare films about their research. Yet, this does not necessarily have to be the case for the new generation of scientists-as-filmmakers, who is trained to appreciate and apply alternative narrative st…
Storyboardgraphy
Throughout the history of filmmaking, storyboarding has been used to pre-visualise films and help with production. Here I propose a new film visualisation tool to complement storyboarding, which I call ‘Storyboardgraphy’ and define as a ‘film pre- and post-visualization tool showing shot sizes and lengths along a timeline’. A storyboardgraphic consists of two axes, with the X-axis representing the scene timeline, the Y-axis the size of the shots,…
Don’t Look Up
In my workshops, Storytelling and Storyboarding Science, I teach scientists how to use the narrative techniques and strategies employed in movies to produce persuasive presentations and publications. Although the movie Don’t Look Up was initially intended as an allegory about climate change and the idea that decision makers are not listening to scientists, this movie does in fact highlight important issues regarding how scientists communicate sci…
Environmental Humanities Switzerland ‐ a decade in retrospect
Environmental crises confront humanity with challenges that reach into all areas of society ‐ from poverty and exclusion, capitalism and finance, to forced migration, global health, and artificial intelligence. This article traces the history of saguf ’s working group Environmental Humanities from 2014 to 2025 and reflects on its contributions in Switzerland and beyond
Art (3 works) · Climate Change Communication and Perception (3 works) · Media Influence and Health (3 works) · Sociology (3 works) · Filmmaking (2 works) · Literature (2 works) · Narrative (2 works) · Psychology (2 works) · Science communication (2 works) · Science education (2 works)