In the late 1950s and 1960s, La Nouvelle Vague or The New Wave was an individualistic experiment of excited young French filmmakers who rejected the disconnect between the literary script of the film and the filmmaking experience itself. This became a stylistic direction to experiment with the film form, visual style and narrative, and merge filmmaking with the social issues and upheavals of the time.

 

The Nouvelle Vague presented a fresh approach to storytelling that put cinema into the street, then everywhere else. It facilitated expressing complex ideas through emotionally engaging narratives bearing a personal artistic expression and authorship. It was a paradigm shift from formulaic and studio-bound filming of novelist literature into vibrant realism and documentary-style filmmaking. With its realistic and spontaneous yet philosophical dialogue, the experience enticed one to think beyond the film, replacing complacent entertainment with sincere communication.

 

So how does this relate to the communication of science, or what I call “science-telling”?

 

Merging the science-telling with the social issues of our time is the Nouvelle Vague that can put science into the street.

 

The more sophisticated science gets, the harder it is to communicate. Science journals today are inflated with papers brimming with jargon and symbols. The reader is confronted with results based on data generated by computer programs and displayed by programming tools. There is a disconnect between the scientific community and the general public.

 

A Nouvelle Vague in science-telling aims to create an engaging science narrative infused with a personal expression that gives it signature. Science then becomes an extension of the human experience and a contemporary form of expression.

 

This is the science that Scheherazade and her guests speak.