The article analyses the role of time in the visual culture of two phases in embryological research: at the end of the nineteenth century, and in the years around 2000. The first case study involves microscopical cytology, the second reproductive genetics. In the 1870s we observe the first of a series of abstractions in research methodology on conception and development, moving from a method propagated as the observation of the “real” living object to the production of stained and fixated objects (...) that are then aligned in temporal order. This process of abstraction ultimately fosters a dissociation between space and time in the research phenomenon, which after 2000 is problematized and explicitly tackled in embryology. Mass data computing made it possible partially to re-include temporal complexity in reproductive genetics in certain, though not all, fields of reproductive genetics. Here research question, instrument and modelling interact in ways that produce very different temporal relationships. Specifically, this article suggests that the different techniques in the late nineteenth century and around 2000 were employed in order to align the time of the researcher with that of the phenomenon and to economize the researcher’s work in interaction with the research material’s own temporal challenges. (shrink)

Science in film, and usual equivalents such asscience on filmorscience on screen, refer to the cinematographic representation, staging, and enactment of actors, information, and processes involved in any aspect or dimension of science and its history. Of course, boundaries are blurry, and films shot as research tools or documentation also display science on screen. Nonetheless, they generally count asscientific film, andscience inandon filmorscreentend to designate productions whose purpose is entertainment and education. Moreover, these two purposes are often combined, and inherently (...) concern empirical, methodological, and conceptual challenges associated withpopularization,science communication, and thepublic understanding of science. It is in these areas that the notion of thedeficit modelemerged to designate a point of view and a mode of understanding, as well as a set of practical and theoretical problems about the relationship between science and the public. (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)