Abstract
Over the last twenty years, genetics technology and research has become increasingly integrated into our daily lives, from the first consumer paternity tests in 1997 to ‘three parent babies’ in 2015. The vast world of genetics is one of complexity and change. Developments are surrounded by expansive rhetoric describing genetic applications, research, ethics and social policies. For this reason it is important to evaluate the types of messages that are being communicated around genetics, and their potential impact on public perception and engagement. The public’s main source for science information is the media and the genre of documentary plays a significant role in this regard. The written component of this thesis explores the treatment of genetic information in three documentaries: Genetic Curse, Cracking Your Genetic Code and Lifting of the Mākutu, using three different framing schedules; Reinemann et al’s hard and soft dimensions, Carver et al’s five distinct gene frames, and Väliverronen’s visual and content analysis. The findings revealed a large proportion of the genetics content was communicated through human interest stories and most frequently framed in a causal or ‘deterministic’ manner. This highlighted a need for more accurate depictions of genetics through explanations of the multifactorial basis of disease.
The analysis of the documentaries was used to inform the framing of genetic content in Genome, a 25 minute documentary made for the creative component of this two-part thesis. Genome looks at the emerging field of direct-to-consumer genetic testing from the perspective of Sarah, an adopted Maori woman who wants to discover information about her medical history and ancestry. Sarah’s thoughts and questions within the film provide a means for exploring scientific, ethical and personal concepts related to the consumer technology. The documentary discusses the important but partial role of genetics in our understanding of health and disease and how concepts of identity are intertwined with ideas about our own biological constitution.
The academic and creative components are further linked through the analysis of Genome using the framing schedules. Comparatively, and in light of the research, Genome reflected less deterministic attributions and broadened the gene frame to include concepts of identity. The schedules also brought to light weaknesses within the documentary such as unclear metaphors and limited use of important framing devices. This reinforced the importance of the framing schedules as tools for retrospective evaluation and a means for improving future communication of genetics in documentary.