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)

The use of motion pictures for research has a long history, of course, but beyond documenting a phenomenon and then projecting it for demonstration, scientists using this technology spent much energy figuring out how to extract information from a strip of film. Understanding film (or audiovisual) analysis is therefore necessary to grasping the relationship between an object of study, moving-image technology, and scientific evidence. This article explores one common technique within that history of film analysis: projecting a frame of the (...) motion picture and then tracing the object of study onto paper, which was especially important for behavioral sciences such as developmental psychology or ethology. Behavior became tangible through a variety of means, but for those who relied on film for their observations, such as developmental psychologist Arnold Gesell, behavior took form at least partly through the process of tracing. Gesell's use of this technique reveals the broader functions of tracing as well as the patterns that emerge from its interplay with other inscriptions in the creation of evidence. How does behavior take form? The practice of tracing provides one answer to this larger question. (shrink)

This article explores how post-war documentary film-makers negotiated complex social, formal, and autobiographical issues associated with representing mental illness and its treatments, and the extent to which their respective approaches helped to challenge conventional attitudes to alternative psychotherapies – especially within the context of advances in new documentary film-making technologies, alongside a wider culture of social activism. Focussing on A Look at Madness ( Regard sur la folie; Mario Ruspoli, 1962, France) and Now Do You Get It Why I Am (...) Crying? ( Begrijpt u nu waarom ik huil?; Louis van Gasteren, 1969, Netherlands), the article discusses how the collaborative, democratic aims of cinéma direct coincided with the ethos of institutional psychotherapy, and compares this with the relations between the documentary form and the subject of LSD-assisted psychotherapeutic techniques in Van Gasteren's film. (shrink)

This article examines cinematographic observational studies of infants conducted by a loosely connected group of female psychologists and physicians in the USA from the 1930s to the 1960s. Largely forgotten today, these practitioners realized detailed and carefully planned research projects about infant behavior in a variety of settings—from the laboratory to the well-baby clinic. Although their studies were in conversation with better-known works, such as John Bowlby's research on attachment and René Spitz's films on institutionalized infants, they differed in a (...) close examination of individual characteristics of babies and a critical attitude toward contemporary notions of ‘pathological mothering’. In closely following the work of several researchers, including but not limited to pediatrician Margaret Fries (1898–1987), the clinical psychologist Sibylle Escalona (1915–96) and her team members—child psychiatrist Mary Leitch (1914–?) and avant-garde photographer Ellen Auerbach (1906–2004)—and psychologist Anneliese Korner (1918–2010), I argue that their cinematographic works shed a more nuanced light on the landscape of infant research and child psychiatry in the mid 20th century, and open a way for alternative readings of gender, psychoanalysis, and scientific observation at that time. (shrink)

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)

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)

This article argues that, in order to understand Peter Winch's view of philosophy, it is profitable to read him together with R. G. Collingwood's philosophy of history. Collingwood was both an important source for Winch and a thinker engaged in a closely parallel philosophical pursuit. Collingwood and Winch shared the view that philosophy is an effort to understand the various ways in which human beings make reality intelligible. For both, this called for rapprochement between philosophy and the humanities. Like Collingwood, (...) Winch wanted to reformulate philosophy as a form of human science. Both thinkers advanced a conception of logic where the validity of judgements, propositions, and thought are dependent on their function as instruments in human dialogue. In their treatments of logic, Winch and Collingwood were fleshing out their idea that questions concerning human meaningful behaviour also tie back to the question of what philosophical analysis is about. There is a deep connection between two main issues in both Collingwood's and Winch's writings: on the one hand, the need for ‘internal’ understanding of how human beings relate to reality, and on the other hand, their critique of the idea of logic as a self-sufficient system, external to historically embedded forms of life. At the core of their shared vision there was a comprehensive critique of metaphysical realism. (shrink)

On 18 October 1708, Giambattista Vico (1668–1744) gave his seventh inaugural oration, De nostri temporis studiorum ratione (De ratione) at the University of Naples. There, he used the term conspirare to propose collaboration among the sciences. An initial study of the historical context, specifically the scholar’s involvement with the Conspiracy of the Prince of Macchia (1701) and the debates on university reform, makes it possible to formulate a hypothesis regarding Vico’s intent and word choice that enriches our understanding of the (...) preserved text. On a personal level, the Neapolitan professor was looking for a modicum of protection from the new authorities, especially the recently named viceroy in audience that day, Cardinal Vicenzo Grimani. On the political plane, along with a surreptitious argument against tyranny, Vico sought to dissuade the new governors from subscribing to the divisive approach embodied in the university policy of the Cartesian and Bourbonic reformers. Direct analysis of the text of De ratione enabled theoretical scrutiny of the frame from which Vico called for more than mere encyclopaedic knowledge. He was setting forth a vision for a conspiratorial project among the sciences based on a broad understanding of rhetoric. His original proposal for inter- and trans-disciplinarity can inform current debates on the same topic. (shrink)

In the wake of their heightened role in addressing the emotional challenges of United States soldiers during World War II, American psychiatrists increasingly argued that their knowledge of human nature, based on interpretation of unconscious processes, was a powerful tool in effecting changes in society. As they turned to training an adequate supply of psychiatrists to meet expanding demand, educators in psychiatry residency programs faced questions about whom to entrust with the power of psychiatric interpretation, how educators’ knowledge about trainees’ (...) own unconscious processes should be harnessed, and how much to adhere to strict psychoanalytic doctrine in training. During the 1970s, social and cultural upheavals outside and inside psychiatry began to dismantle the grand claims of the postwar generation of psychiatrists, while shifts in the 1980s led educators to focus more on seemingly objective educational measures. Trainees’ and critics’ serious questioning of authority and structures in American society, and within psychiatry training programs, was perhaps as much of a factor – if not more – in the shift away from an emphasis on the interpretive power of psychoanalysis in favor of more eclectic and ultimately biological approaches in academic psychiatry. (shrink)

We may well be witnessing a decisive event in the history of knowledge as diversity is becoming one of the premier values of late modern societies. We seek to preserve and foster biodiversity, neurodiversity, racial diversity, ethnic diversity, gender diversity, linguistic diversity, cultural diversity, and perspectival diversity. Perspectival diversity has become the passage point through which other forms of diversity must pass to become epistemically consequential. This article examines how two of its varieties, viewpoint diversity and educational diversity, have come (...) to transform the moral economy of science. Both aim at multiplying perspectives on a given subject, but their political subtexts differ markedly. The valorization of educational diversity followed a US Supreme Court decision in 1978 that enabled universities to advance social justice, if they justified race-conscious admissions in terms of the pedagogic benefits of a more diverse student body for all. By contrast, the proponents of viewpoint diversity aim at the reform of scientific knowledge production and distribution rather than the reallocation of status and power among different social groups. We examine the political epistemology of viewpoint diversity by analyzing a controversy between social psychologists who, amid the American culture wars of the 2010s, debated how to rein in their political biases in a scientific field supposedly lacking political diversity. Out of this scientific controversy grew Heterodox Academy, an activist organization promoting viewpoint diversity in higher education. By relating and comparing viewpoint and educational diversity, we clarify what is at stake epistemically in the US-centric moral economy of diversity. (shrink)

Corrado Gini was a key intellectual in the Fascist establishment. His scientific programme included statistics, demography, eugenics, economics, and sociology, as well as occasional forays into political thought and anthropology. Historians have focused on his statistics and eugenics, in connection with his spell as head of the Italian bureau of statistics. This article, integrating economics with the other threads of Gini’s programme, takes economic anthropology as a standpoint to reassess the inspiration behind his whole oeuvre. That anthropology consisted of two (...) parts: the criticism of economists’ ‘economic man’ and the attempt to replace it with an instinctual economic agent, inspired by the nationalist rhetoric of ‘young peoples’ bound to conquer the world. Once the perspective is enlarged, the usual definition of Gini as a technocrat proves insufficient, for his science incorporated essential pieces of Fascism’s political ideology and cultural legitimacy. (shrink)

This article examines the influence of Emile Durkheim's sociology on Richard Titmuss, founder of the academic field of social policy. While operating in different environments and historical eras, they shared concerns about modernity's impact on contemporary societies, heightened by their experiences of living in periods of considerable political and socio-economic upheaval. Their social thought embraced crucial complementarities, and understanding these adds a previously under-explored dimension to Titmuss's influential analyses of Britain's post-war ‘welfare state’.