This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

These volumes provide a large introduction to the works of modern value theory from their beginnings in J. Bentham, F. Nietzsche, and H. Lotze to the more recent Anglo-American studies. Volume I is concerned with "the German-Language Group." Extensive discussion is devoted to the views of F. Brentano, A. Meinong, C. von Ehrenfels, J. C. Kreibig, E. Heyde, H. Rickert, H. Münsterberg, M. Scheler, K. Wiederhold, W. Stern, F. Wilken, M. Beck, and V. Krafts. It provides a good conspectus of (...) varieties of nineteenth century value theories. The author aims at an exposition rather than critical treatment of the various philosophers. Each chapter contains a useful bibliography. Of more contemporary interest is Volume II which deals with the Anglo-American Group. One finds here a detailed presentation of the theories of W. M. Urban, J. Dewey, B. Bosanquet, D. Prall, C. G. Shaw, R. B. Perry, D. H. Parkel, W. Stern, A. C. Garnett, J. N. Findlay, E. Brightman, B. E. Jessup, C. I. Lewis, R. Lepley, S. C. Pepper, Everett Hall, R. Hartman, and W. D. Lamont. Shorter discussions deal with works of A. L. Hillard, E. M. Adams, and K. Aschenbrenner. Liberal quotations from original sources are interspersed throughout the exposition. The clarification of issues is not always successful. The author does provide a good focus, however, for important passages from the works discussed. Regrettably, one finds an omission of the view of David Pole, the absence of a summary section on each theory discussed, and the absence of an index. Nevertheless, the students of value theory can find in this work a useful tool of research. The comprehensive scope provides a rich variety of contributions to the important field of value theory.—A.S.C. (shrink)

RESUMENEl presente trabajo trata de exponer el trasfondo (neo)kantiano de la filosofía del cine de Hugo Munsterberg. Nuestro autor, reputado psicólogo experimental y profesor de Harvard, elaboró en 1916 una obra que está considerada la primera manifestación sistemática de la filosofía del cine: The photoplay: a psychological study. Nos centraremos en este libro y lo pondremos en relación con otros textos de Munsterberg en los que su teoría estética aparece. Por otro lado, y sin perder de vista la (...) intención de rescatar los aspectos kantianos de su posición, intentaremos ofrecer un contexto teórico e intelectual de las motivaciones y temáticas de nuestro autor. PALABRAS CLAVEFILOSOFÍA DEL CINE; TEORÍA DEL CINE; MUNSTERBERG; KANTISMO; ESTÉTICA; COGNITIVISMOABSTRACTThis paper aims to explain the Kantian background of Hugo Munsterberg’s philosophy of film. Our author, who was a renowned experimental psychologist and professor at Harvard, in 1916 produced a work that is considered the first systematic manifestation of film theory: The photoplay: a psychological study. We will focus on this book but also we’ll relate it to other Munsterberg’s texts in which his aesthetic theory appears. On the other hand, we will try to offer a theoretical and intellectual context in order to contextualize all his motivations and themes. KEY WORDSPHILOSOPHY OF FILM; THEORY OF FILM; MUNSTERBERG; KANTIANISM; AESTHETICS; COGNITIVISM. (shrink)

ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical one, (...) in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)

According to Hugo Münsterberg, the direct application of experimental psychology to the practical problems of education, law, industry, and art belonged by definition to the domain of psychotechnics. Whether in the form of pedagogical prescription, interrogation technique, hiring practice, or aesthetic principle, the psychotechnical method implied bringing the psychological laboratory to bear on everyday life. There were, however, significant pitfalls to leaving behind the putative purity of the early psychological laboratory in pursuit of technological utility. In the Vocation Bureau, for (...) example, psychological instruments were often deemed too intimidating for a public unfamiliar with the inner workings of experimental science. Similarly, when psychotechnical means were employed by big business in screening job candidates, ethical red flags were raised about this new alliance between science and capital. This tension was particularly evident in Münsterberg's collaboration with the Paramount Pictures Corporation in 1916. In translating psychological tests into short experimental films, Münsterberg not only envisioned a new mass medium for the dissemination of psychotechnics, but a means by which to initiate the masses into the culture of experimental psychology. (shrink)

For historians of psychology, Hugo Münsterberg is best remembered as William James’ successor as director of the Harvard Psychological Laboratory and a pioneer of applied psychology. By contrast, for film and media studies scholars, Münsterberg is recognized less for his contributions to experimental psychology than for those to film theory, a field in which his penultimate book, The Photoplay: A Psychological Study (1916), is frequently claimed as an inaugural text. However, lost in the blind spots of both disciplinary perspectives has (...) been a thorough examination of Münsterberg's collaboration with Paramount Pictures, translating psychological tests into experimental short films. Despite reaching millions of moviegoers in 1916, Münsterberg’s ‘Testing the Mind’ series has received little attention from historians of science and early cinema alike. One reason for this neglect is that, to date, not a single extant copy of a ‘Testing the Mind’ release has been located. This article is about the author's efforts, in collaboration with students, to reanimate these lost psychological tests for the screen through meticulous historical reconstruction based on the original scripts, journalistic accounts, and correspondence between Münsterberg and Paramount. This reconstructive process, I show, yields new insights into the relationship between psychology and early cinema and an opportunity for reflection on this promising new space for research at the intersection of media archaeology, the history of psychology, and experimental history of science. Film URL: https://archive.org/details/munsterberg_paramount.pictographs. (shrink)

Largely unacknowledged by historians of the human sciences, late-19th-century psychical researchers were actively involved in the making of fledgling academic psychology. Moreover, with few exceptions historians have failed to discuss the wider implications of the fact that the founder of academic psychology in America, William James, considered himself a psychical researcher and sought to integrate the scientific study of mediumship, telepathy and other controversial topics into the nascent discipline. Analysing the celebrated exposure of the medium Eusapia Palladino by German-born Harvard (...) psychologist Hugo Münsterberg as a representative example, this article discusses strategies employed by psychologists in the United States to expel psychical research from the agenda of scientific psychology. It is argued that the traditional historiography of psychical research, dominated by accounts deeply averse to its very subject matter, has been part of an ongoing form of ‘boundary-work’ to bolster the scientific status of psychology. (shrink)