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)

This article considers the implications for film analysis of the presence or absence of a manual crank. More specifically, it looks at the 16 mm Time and Motion Study Projector as used in behavioral research in the 1960s and 1970s. The controversial concept of ‘interactional synchrony’, or the dance-like coordination of people in conversation, emerged from the use of this hand-turned projector. William S. Condon developed the concept along with the technique of microanalysis. Starting with the projector manufactured by Bell (...) & Howell, he made numerous improvements to facilitate observation—‘sweeping’ over segments of very short duration to discover the rhythmic synchrony of all filmed participants. It led him to a theory of ‘process’ in communication, and in the reception of speech in particular. People always ‘danced’ to the tune of their own voice, and their listeners ‘danced’ to the tune of the speaker—at intervals of one-sixth or one-eighth of a second. This also led Condon to an epistemology of discovery derived partly from philosophy but mostly from his machinery. The universe, he said, is a ‘continuum of order’ whose structures are preserved through translations of order: of thought into speech, speech into vibrations, vibrations into neurons, and back into behavior. The only exceptions are people with disabilities, like the autistics Condon studied from the 1970s onward. But the very distinction of normal and pathological was epiphenomenal to his scanning technique; it was rooted in material and formal qualities of film and of the projector whose crank he turned often. (shrink)

ZusammenfassungWurde die Geschichte der Filmdigitalisierung jemals in Fragen der Beweis- und Wissensproduktion einbezogen? Die gerade stattfindende Digitalisierung von vielen Tausend Filmen des ehemaligen Instituts für den Wissenschaftlichen Film (IWF) gibt Anlass, über die Provenienz und Wiederverwendung von Filmbildern nachzudenken als auch über die Art und Weise, in der sie behaupten, wissenschaftliche (oder in diesem Fall historische) Evidenz zu produzieren. In den Jahren von 1956 bis etwa 1960 initiierte der deutsche Sozialdemokrat, Historiker und Filmemacher Friedrich „Fritz“ Terveen Filmreihen, die mit vorgefundenem (...) Filmmaterial Hochschulstudent*innen über Zeitgeschichte aufklären sollten. Die erste kleine Filmreihe darunter warLuftschifffahrt in Deutschland, die vier kleine Filme mit gefundenem Filmmaterial über Zeppelinflüge umfasste, von denen die frühesten Bilder aus der Zeit um 1904 und die letzten aus dem Jahr 1937 stammen und die „Hindenburg-Katastrophe“ zeigen. In diesem Artikel soll gezeigt werden, wie Terveen die politische Landschaft des Geschichtsunterrichts in der neu gegründeten Bundesrepublik Deutschland zu gestalten suchte, indem er erstens danach strebte, ein bundesweites Bildarchiv mit historischen Filmdokumenten einzurichten und zweitens die politische Bildung einer neuen Generation junger Deutscher mithilfe des bewegten Bildes verbessern wollte. (shrink)

Has the history of film digitization ever been incorporated in questions of evidence and knowledge production? The digitization of thousands of films from the former Institute for Scientific Film (IWF) that is currently underway gives an occasion to think about the provenance and reuses of filmic images as well as the ways in which they claim to produce scientific (or in this case, historical) evidence. In the years between 1956 and 1960, the German Social Democrat, historian and filmmaker Friedrich “Fritz” (...) Terveen initiated a film series that used historical found film footage in order to educate university students about contemporary history. The first small series of films was entitled Airship Aviation in Germany which consisted of four short films using found footage of zeppelin flights, of which the earliest images stem from around 1904 and the latest from 1937, the moment of the “Hindenburg disaster.” This article explores how Terveen sought to shape the political landscape of history teaching in the new Federal Republic of Germany by first setting up nation-wide visual archives to host historical film documents, and secondly by seeking to improve the political education of a new generation of young Germans with the aid of the moving image. (shrink)