This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage audiences using psychological tactics. Scott Curtis’ article examines how Yale psychologist Arnold Gesell was able to extract scientific data from (...) a film. Felix Rietmann’s article explores a collection of infant observation films from the 1930s and 1960s and how they developed unique narratives of mothers’ engagement with their children that did not necessarily match up with dominant scientific theories. Janet Harbord's article considers how a trilogy of films made at the Maudsley Hospital in the 1950s engaged with innovative film-making techniques that captured behaviour as discrete units. Seth Watter further examines how William S. Condon's use of the unique technology of the Bell and Howell 173BD projector in the 1960s created new understandings of human behaviour that could not have been predicted in advance, and which were highly influenced by the technology itself. Finally, Des O’Rawe explores how radical approaches in both anti-psychiatry, and documentary film-making in the 1960s created new opportunities for audiences to engage with different psychological states. All of these developments in film and psychology continue to influence understandings in both these fields to the present day. (shrink)

This article examines three films made during the 1950s by Elwyn James Anthony at the psychotic clinic for children at the Maudsley Hospital that marked an important transition in the purpose and practice of visual documentation in a clinical setting: film as a research tool was transitioning from the recording of external signs as indicators of internal subjective states, to the capture of the visual flow of communication between subjects. It is a shift that had a particular impact on the (...) emergent classification of autism, a modality not yet properly separated from the broader term of psychosis, as a non-relational condition whose visual capture demonstrated a void of inter-human communicational exchange. Film was significant not only as a recording apparatus, but as a method of cutting and crafting sequences of movements into brief repetitive motifs. The filmed behaviour of children remained opaque to interpretation, a ‘finding’ that facilitated the modelling of an emergent autism as subjects who were isolated, alienated and automaton-like, inhabiting a separate temporality. The article situates this ‘second’, affectless autism, within a broader context of post-war research into gestures as a language of the body, developed largely through an intellectual network of German émigré psychoanalysts who had fled to the US and UK in the 1930s. (shrink)

A cultural studies textbook that deals with issues of methodology, as well as mapping out the history and theories and ideas in cultural studies. The book examines the work of Raymond Williams, Lacan and Hoggart, among others, and explores notions of subculture, psychoanalysis, Marxist thought, narrative, autobiography, fiction, subjectivity, language, history and representation. The book focuses on the past, present and future of cultural studies, with the aim of providing readers with a clear overview of the central ideas within the (...) area, developing current debates and possible future avenues. (shrink)

"Chris Marker's La Jetee is considered one of the greatest experimental films of all time. This short film - a compelling science-fiction story composed almost entirely of black-and-white photographs - has been praised by cultural theorists, artists and film-goers alike." "Janet Harbord focuses on the film's influential circular treatment of time, the power of its voice-over narration and the qualities of stillness and movement in its images. She examines the pace and shifting rhythm of the various editing techniques employed in (...) the work, the use of sound as a key affective device and the relationship of film to animation - in the sense of things brought to life. Harbord moves deftly from close readings of the film to discussions of broader cultural issues, navigating within La Jetee's prospect of a post-apocalyptic future, where humanity searches to save itself through experiments in time." --Book Jacket. (shrink)

Introduction -- Girls and other incomplete things: on archaeological method -- Gesture: cinema muto mutato -- Dim stockings and pornography: community, spectacle and the example -- Cinema as laboratory: on insects and the anthropological machine -- When the assistants profane cinema -- Ex-centric cinema.

After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projector) lacking in human qualities. This (...) article argues that the newly configured body–machine relationship provided by cinema became a marginalized feature of cinematic culture, an ex-centric cinema relegated to the sub-fields of science and educational film. In the mid-20th century the project surfaces spectacularly in the work of pioneering designers Charles and Ray Eames, most poignantly in their film Powers of Ten (first made in 1968, remade in 1977), a journey into the cosmos and back again into the body of a man. Bringing together discourses of space travel, cartography, physics and cinema, the film moves us towards an understanding of visual culture as an apparatus of calculated possibilities, where visualization replaces representation. If we take the Powers of Ten as a non-representational film, an ex-centric cinematic practice, we uncover non-linear and non-representational ways of apprehending the relationship between bodies and matter. This literal line of flight is one path that cinema may have taken. Its presence, however, is detectable outside of the cinema, in the software programs of electronic cartography copyrighted as Google Earth. The human body is not made virtual by its engagement with calculated visualization but is in turn part of the field of enquiry, equally porous, and definable in various scales and in different dimensions. (shrink)

In a brief essay, “For an Ethics of the Cinema”, Giorgio Agamben names the film star as the twentieth century figure representing an elision of what is individual and what is collective. It is impo...