Albert von Schrenck-Notzing, M.D., is one of the most controversial figures in the history of medicine and science. A pioneer of hypnotism and sexology in late 19th century Germany, he was to become the doyen of early 20th century German psychical research. Supported by the philosophers Hans Driesch and Traugott Konstantin Oesterreich and the psychiatrist Eugen Bleuler, his work was attacked by psychologist Max Dessoir and, most fi ercely, psychiatrist Mathilde von Kemnitz (later Ludendorff) and sexologist Albert Moll. This essay (...) traces the career of this unusual character from his early work in hypnotism and sexology to his study of even more contested areas, such as “poltergeist” cases and the experimental study of alleged materialisations and telekinesis. Finally, it analyses the rhetorical structure of charges of fraud, gullibility, and scientifi c incompetence, which Schrenck-Notzing’s name is still associated with. (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)