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ABC der Anschauung (Pestalozzi),
173
adult education and motion pictures,
184–90aesthetic contemplation,
8,
10,
17,
211,
251,
197–202; agency or free will and,
201,
213,
214; alertness (
Geistesgegenwart) and,
213; Benjamin and,
235,
240–41; distraction and,
201,
233–35; as expert vision or observation,
10,
135,
195; gender and,
231–32; as ground for aesthetic experience,
219,
230; indeterminacy and,
208; Kracauer and,
234; Lukács and,
235–40; mass reception and,
201,
216,
217; moral significance of,
241; motion pictures and,
17,
189,
195–96,
230–31; movement and,
226,
230–31; as observational training,
170–72; passivity and,
201; political implications of,
232; Schiller and,
190; Schopenhauer and,
207,
214.
See also aesthetic experienceaesthetic education,
143–47; film reform and,
172; as German tradition,
143; moral renewal and,
176,
169–70; museums and,
170; nationalism and,
168–71; observational training and,
163,
168–71; Schiller and,
167–68,
171; suggestibility and,
167aesthetic experience,
5,
7,
8,
198; aesthetic education and,
143; agency within,
201,
202–14; descriptions of,
196–201; detachment and,
196–98,
202,
209,
220,
241; embodied vision and,
214–30; as emotional projection,
217,
220–21; identity and,
214–16; moral significance of,
197–201,
207; movement and,
224–30; as renewal of perception,
213; repose and,
209; Schiller and,
205–07; Schopenhauer and,
207,
214; synesthesia and,
221–22; as system of dichotomies,
196–201; taste and,
191; temporality and,
204–7.
See also aesthetic contemplationaesthetics,
1,
4–5;
Einfühlung as solution to problems in,
215–16; formalist and scientific approaches to,
215; reception and form in,
195; “traditional,”
17,
190,
195,
207,
214,
216–17,
237alertness or presence of mind (
Geistesgegenwart),
212–14,
240alignment of image, object, and technology,
38,
43–62Allgemeines Krankenhaus,
103alternative public sphere, early film exhibition as,
184American College of Surgeons,
109American Hospital Association,
109analysis and synthesis,
11,
25,
36–37,
42,
112,
117–18,
124; medical observation and,
120–25; motion pictures and,
32,
36; scientific cinematography’s relationship to,
87,
117–18; spectatorship and,
165analysis of motion,
20,
38,
40,
44,
77,
115–16; Bergson’s critique of,
32–33,
87; frame-by-frame,
60,
98,
117,
125Andriopolous, Stefan,
135animal locomotion,
41,
45Anschauung (sense impression),
172–76
Anschauungsunterricht (visual means of instruction),
9,
10,
16,
145–46,
172–84; as apperception,
174–75; correlation and,
174–75; detail and,
173–74; elementary and adult education and,
176–77; Herbartian principles of,
182–83; Lichtwark and,
163; motion pictures and,
146,
182–83; natural sciences and,
175; as object lesson,
173–75; as observational training,
10,
145,
162,
173–75; Pestalozzi and,
172,
174–75; relationship to images and words,
175–76; self-cultivation (
Bildung) and,
145; social acceleration and,
173–74.
See also object lesson
Arbeitsschule (works schools),
149
Arbeitswissenschaft (the science of work),
42
art education movement (
Kunsterziehungsbewegung),
16,
149,
169–71,
176atomic-kinetic model of heat,
20,
65,
67atomic-kinetic theory of matter,
64–65Autorenfilm (author’s film),
194
Benjamin, Walter,
193,
202,
218,
236–37,
244,
250; alertness and,
213; aura and,
190; Bergson and,
36; contemplation and,
201,
208,
235,
240–41; distraction and,
201,
233,
235; Duhamel and,
212; expert/lay distinctions and,
12; mode of perception and,
13; optical unconscious and,
86; traditional aesthetics and,
195,
214Bergson, Henri,
21,
25,
38,
39,
43,
60,
73,
116,
117,
235; analysis and,
87–88; Benjamin and,
36; cinematographical thinking and,
15,
22,
32–37; critique of science and,
32–37,
62–64;
eidos and,
59; German counterparts to,
36–37; movement and,
33–34; synthesis and,
36; time and,
74–76; United States and,
22,
32,
36Bildbetrachtung (image viewing),
10,
171,
189
Bild und Wort (Image and Word society) (film exhibitions),
184
Bildung (self-cultivation),
145; visual training and,
141
Bildungsbürgertum (educated middle-class),
126,
134
biology,
14,
22,
32,
97; cell,
6,
21,
25,
37,
76–88,
250Der Blaue Engel (The Blue Angel) (film)
142
The Blue Angel (film),
142
Borbacher Knabenmord (child murder of Borbach),
287n151Botryllus (sea squirts),
76
Braune, Wilhelm,
19–20,
24–26,
38,
41–44,
62–63,
88,
91,
98,
116.
See also The Human GaitBraus, Hermann,
20,
24,
25,
29,
78; nerve fibers and,
77,
80,
82–86,
88British Medical Association,
106Brownian motion,
20,
24–25,
27,
62–76,
71,
72,
77,
81,
87,
266n97; Einstein’s theory of,
64–69,
266n94,
266n98; importance of displacement to Einstein’s theory,
68–69
The Cabinet of Dr. Caligari (film),
244
cardiac dynamics and mechanics,
98,
99,
100Century of the Child (Key),
163
Charles Urban Trading Company,
156Chevroton, Lucienne,
27,
76children and crowds: analogies between,
143,
162; aesthetic sensibilities of,
143; as models for descriptions of film spectatorship,
162,
See also crowd psychologychronophotography,
15,
21,
23,
25,
28,
60–61,
62,
116; Brownian motion and,
20,
69,
73; ergonomics and,
41; for
The Human Gait,
44–62,
52; human locomotion and,
19–20; two-sided,
46cinema: theater compared to,
236–39Cinema and Art (
Kino und Kunst) (Häfker),
184
“Cinema and Schoolchildren” (Kleibömer),
202Cinema Reform Association,
155,
162The Cinematic Lesson Plan (
Die kinematographische Unterrichtsstunde) (Lemke),
182,
183
cinematography,
21–22; adaptation of for biology and physics,
76–77; as aid to correlation,
116,
123; analysis and synthesis and,
117; Bergson’s analogy of,
32–37; Braun and,
111–14; Braus and,
20,
84–87; Brownian motion and,
66,
69–70; as confirmation of biological theory,
85; high-speed,
27,
30,
76; medical,
92–93,
98 114,
243; microcinematography,
27,
76,
92–93,
98; science and,
32–37; slow-motion,
27,
86,
123; as substitute for object of study,
84; time-lapse,
23,
30,
84–85,
86,
98,
123,
250; as optical unconscious,
86; as virtual experiment,
84,
100; as virtual witness,
84,
100; X-rays and,
27,
100–102,
101. See also chronophotography;
The Human Gait;
medical filmmaking;
research filmclass-based distinctions,
12,
95,
245Collège de France,
27,
76communal sense (
sensus communis),
191continuity and discontinuity,
5,
25,
32–34,
36,
61,
64,
75,
82,
83,
86–87,
117,
178correlation,
8,
111,
124,
139,
163,
173,
175; definition of,
114; medical observation and,
115–17; film as aid to,
122,
123,
246country boarding schools (
Landerziehungsheime),
149Creative Evolution (Bergson),
22,
25,
32,
37
Critique of Judgment (Kant),
197
“The Cult of Distraction” (Kracauer),
233The Culture of the Female Body as a Foundation for Women’s Clothing (Schultze-Naumberg),
149–50
curricular integration,
181
Degeneration (Nordau),
128
The Descent of Man (Darwin),
164
detail: as fidelity to nature,
5,
93,
107–08,
111–13,
179; as ground for authenticity,
173–75,
179; as ground for observational practice,
119–20,
139,
204,
246; scientific management of,
25,
46,
52,
60,
125; as symptom of modernity,
174,
189,
211Didi-Huberman, Georges,
115direct perception (immediate or sensual),
7,
108,
110,
122,
145,
172,
173,
221,
250,
279n70dispositif,
246; as experimental material,
250–51
dissemination of media technologies,
6,
10distraction,
7,
9,
195,
240,
244; attention and,
133; Benjamin and,
201,
233,
235; Kracauer and,
233; proximity and,
190docile bodies (
aka working objects),
42–44doctor–patient relationship,
95,
126documentary function, of medical filmmaking,
102–5Doodica (conjoined twin),
106“Drama in the Film Theaters” (Polgar),
220Duenschmann, Hermann,
210Duration and Simultaneity (Bergson),
32
Eclipse (film company),
155–56educated middle-class (
Bildungsbürgertum),
126,
134educational function, of medical filmmaking,
105–10effects of media technologies,
244–45Einfühlung (emotional projection, feeling into),
17,
202,
215–22,
224–29,
237,
307n51; body as model for,
222; contemplation and,
219,
230;
Kino-Debatte and,
217,
220; movement and,
224–28; physical response and,
228–30; space and,
225–28
elementary education and motion pictures,
176–84enemies of the cinema (
Kinogegner),
130energy, conservation of,
39–40Essay Concerning Human Understanding (Locke),
211
“The Essence of Architectural Creation” (Schmarsow),
225evidence, creation of,
24–25Exercises in the Contemplation of Art Works (Lichtwark),
170–72,
189
experiment: in biology,
82–83; characteristics of,
98–99; differential reproduction in,
250–51; disciplinary logic and,
23–24; historiographic implications of,
250–51; infrastructure for,
27–28; in medicine,
98–102; motion picture equipment manufacturers and,
28; motion pictures and,
22–24,
27,
88; popular audiences for,
28–29; time and,
139–40expert training,
60,
95; advantages of cinematography for,
108; and professional identity,
94; and research films,
106,
117expert/lay distinctions,
11–13,
94–95,
245; historiographic implications of,
245exploratory function, of medical filmmaking,
98–102
faithful to nature (
Naturgetreu),
179,
181,
182Fata Morgana (film theater),
28film exhibition, legal restrictions on,
159film form,
4–5,
6,
14,
246,
249; correspondences between form and logic,
23–24; disciplinary logic and,
248; historiography and,
247film frame, as spatial and temporal boundary,
116“Film in the Service of Medicine” (demonstration),
107film reform,
152–62; distribution and,
159–60; exhibition and,
160,
184–90; foreign films and,
157; goals of,
155; Kino-Kommissions and,
155; Kinoreform and,
155; legacy of,
160–62; narrative and,
157; objections to motion pictures,
154; positive and negative approaches to,
153; production and,
156–59; trade journals and
152–53; uplift and,
154film strip as line,
74–76Film und Lichtbild (periodical),
28
first law of thermodynamics,
40,
65François-Franck, Charles Émile,
27,
76free play of associations,
8French Academy of Medicine,
106From Caligari to Hitler (Kracauer),
301n145
Gaudreault, André,
13,
134Gaumont (film company),
155gaze: clinical or medical,
112,
115,
118–19; glance and,
7,
120–22; holistic,
7,
118,
120–21,
165.
See also aesthetic contemplation,
all-at-onceness,
observation,
Sehen,
Schauen“Gedanken zu einer Aesthetik des ‘Kino’ (Thoughts Toward an Aesthetic of the Cinema)” (Lukács),
202,
236Geistesgegenwart (alertness or presence of mind),
212–14,
240
German High Ministry of War,
44Germany, reaction to modernity,
13–14Gesamtkunstwerk (Wagner),
32
Gesamtsinnlichkeit (sensuous totality),
224
Gesamtvorführung (total presentation),
188
Gesellschaft der Freunde des vaterländischen Schul- und Erziehungswesens (Society of Friends of the Schools and Instruction for the Fatherland),
154Gesellschaft deutscher Naturforscher und Ärzte (Society of German Natural Scientists and Physicians),
83,
111Gesellschaft zur Verbreitung von Volksbildung (Society for the Dissemination of Popular Education) (GVV),
152,
159Giovanna d’Arco (
The Maid from Orleans) (film),
160
Goethe, Johann Wolfgang von,
203,
236Great Exhibition (1851),
174Great Lisbon Earthquake,
203Gymnasium (high school),
148,
152
Häfker, Hermann,
16,
152–53,
156,
172,
176–77,
243; contemplation and,
231,
233;
Kinetographie and,
188; Lichtwark and,
189; model presentations and,
147,
184; photograph of,
185; taste and,
186; World War I and,
301n145heat transference,
40,
65Hegel, Georg Wilhelm Friedrich,
215Heinrich von Ofterdingen (Novalis),
236
heterogeneity,
245; of early cinema,
2,
12,
13high school (
Gymnasium),
148,
152high-speed cinematography,
27,
30,
76historiography,
4,
247; analogy and homology in,
249; disciplinary or expert use of film and,
14,
17,
246–47;
Kino-Debatte and,
195; “tactile,”
246–50Hollywood, mode of production and reception,11–12
Huelsenbeck, Richard,
232The Human Gait (Braune and Fischer),
19,
44–62; camera placement for,
50; coordinates graph for,
58,
59; coordinates table for,
57; determination of coordinates for,
53; instrument for coordinate measurements,
54; measurement of coordinate,
55; military recruit for,
47; resulting chronophotograph for,
52; subject at rest,
48; tridimensional model for,
61,
62
identity: aesthetic experience and,
197,
214–30; class,
13,
122; free will and,
217; professional,
94,
95,
122,
124,
125; self-identity,
11,
13,
144,
174,
236Image and Word (
Bild und Wort society) (film exhibitions),
184
image viewing (
Bildbetrachtung),
10,
171,
189“Infantile Sexuality” (Freud),
163Innerlichkeit (inwardness),
239–40
Institut de Sociologie,
40interdisciplinary research,
3inwardness (
Innerlichkeit),
239–40Die Irrfahrten des Odysseus (
The Wanderings of Odysseus) (film),
157,
158
Kaiserin-Friedrich-Haus,
107Kammer-Lichtspiele Theater,
234Kinematographie und Schule (Mendel),
180
Die kinematographische Unterrichtsstunde (
The Cinematic Lesson Plan) (Lemke),
182,
183
Kino-Debatte,
16–17,
193–95,
201–2,
236,
241; aesthetic experience and,
208,
217; alertness and,
212;
Einfühlung and,
217,
220; historiography and,
195; literary emphasis and,
194; somnambulism and,
212; traditional aesthetics and,
214
Kinogegner (enemies of the cinema),
130
Kino und Kunst (
Cinema and Art) (Häfker),
184
“Kino und Schaulust” (Serner),
228Kultur and
Zivilisation,
144–45
Kunsterziehungsbewegung (art education movement),
16,
149,
169–71,
176
Ladenkinos (storefront cinemas),
126,
153
Landerziehungsheime (country boarding schools),
149
Langbehn, August Julius,
168–69legitimacy,
61,
100,
124,
244,
249; of motion pictures within a discipline,
1–2,
4–5,
9,
14,
24,
95,
122–23,
195,
217Lemke, Hermann,
16,
146,
154,
158,
166,
178,
189,
247; Cinema Reform Association and,
155,
162; Film-Idea-Central and,
156; Herbart and,
181–82; Society for the Dissemination of Adult Education and,
159; Society for the Dissemination of Popular Education and,
152Lichtbild-Bühne (trade periodical),
167,
167
Lichtbilderei (film institute),
159–60local exhibition rights,
295n61logic: disciplinary,
4–6,
9–10,
14–15,
23–24,
109,
248–49; film form and,
5–6,
23–24,
111–25; medical,
5,
16,
90–91,
111–25.
See also patterns of use: film form andThe Lonedale Operator (Griffith),
248
Lukács, Georg,
9,
194,
202,
240,
288n9,
311n98; child psychology and,
162; contemplation and,
235–37,
239; Romanticism and,
236; time and,
238Lumière (film company),
28
The Maid from Orleans (
Giovanna d’Arco) (film),
160
Maiocchi, Roberto,
66,
68Mantell, Gideon Algernon,
174Marey, Étienne-Jules,
26,
40–42,
76,
117,
121; graphic method of,
19,
27,
40; movement and,
27; single-camera system of,
45Marital Hygiene (film),
243
mathematical immanent in matter.
See geometryMatter and Memory (Bergson),
32
“Measurement of the Temperature Dependency of Brownian Motion” (Seddig),
20media ensemble (
Medienverbund),
3,
178medical demonstrations,
103–4medical filmmaking,
92–93,
90–96,
98,
114,
243; documentary function of,
102–5; educational function of,
105–10; exploratory function of,
98–102; multiple functions of,
96–110; observation and,
110–25. See also
cinematography,
research filmmedicalization, of society,
127medicine,
1,
7,
15–16,
103,
113,
122,
123; Doyen and,
106–07; folk,
126; photography and,
98,
112; social,
127; spectacle and,
279n63Medienverbund (media ensemble),
3,
178
“Melody in the Cinema, or Immanent and Transcendental Music” (Bloch),
222Mendel, Georg Victor,
180“The Metropolis and Mental Life” (Simmel),
212microcinematography,
27,
76,
92–93; medical filmmaking and,
98mind, comparisons with motion pictures and modernity,
208–12model presentations (
Mustervorstellungen),
147,
184,
187mode of perception (Benjamin),
12–13modernity,
36,
38,
143,
194,
200,
201,
235; cultural and social,
41; excesses of,
128,
130,
133,
142,
174,
189,
191; German reaction to,
13–14,
149–51; motion pictures as emblem of,
125–26,
134,
149,
186,
204,
208–9,
217; motion pictures as potential haven from,
187; pace of change within,
131–34,
203–4,
208; as series of shocks,
187,
192.
See also social accelerationmovement,
21,
40; aesthetic education and,
178–79; analysis of,
20,
38,
40,
44,
77,
115–16; animal locomotion,
41,
45; architecture and,
226; Bergson and,
33–34,
75,
87; contemplation and,
226,
230–31; education and,
178;
Einfühlung and,
224–28; human locomotion,
19–20,
26,
38–39,
41–44; immobility and,
37–38; inner,
218; Marey and,
27; pathological,
104.
See also Brownian motion;
The Human Gaitmulticellular theory of nerve development,
77Mustervorstellungen (model presentations),
147,
184,
187
Naturgetreu (faithful to nature),
179,
181,
182
negative space, spectatorship as,
11,
250neo-Kantian tradition,
199neurological diseases,
103neurology,
92; cinematography and,
103–5Nietzsche, Friedrich,
128,
148nontheatrical uses of film,
2; disciplinary agendas and,
2
observation: the accommodation of motion pictures to,
5–6,
9–11,
111–12,
190; aesthetic contemplation and,
10,
135,
170–72,
195; aesthetic education and,
163,
168–71;
Anschauungsunterricht and,
10,
145,
162,
172–76; analysis and synthesis and,
121,
124; attention and,
126; in biology,
80–82; as correlation,
8,
111–17,
175; detail and,
119–20,
139,
204,
246; disciplinary logic and,
6,
9–10,
23–24,
91,
92,
111–25; as engine of progress,
132; experiment and,
25,
123; gaze and glance as,
7,
119–22; gender and,
140,
165,
231–32; hypnotism and,
135,
138–40; as ideology,
8–9,
95; in medicine,
91,
97,
98,
110–25; as method of ordering thought,
123; modernity and,
132–34,
163,
189,
191–92; photography and,
179; as practice,
7,
113,
118–20; spectatorship and,
11,
13,
16,
91,
92,
95,
96,
110,
139–40,
163,
189,
191–92,
250,
251; temporality of,
118–26; theory and,
64,
66–67,
73,
80–81; training and,
6–7,
10–11,
146,
163,
171,
192,
145–46.
See also all-at-onceness,
analysis and synthesis;
“critical method”;
expert modes of viewingOn the Optical Sense of Form (Vischer),
215
“The Origin of Geometry” (Husserl),
58outgrowth theory of nerve development,
80,
81,
85
pace: human liberty or potential and,
208; of modern life.
131,
133,
134,
163,
173,
186,
189,
208,
244; of motion pictures,
5,
14,
118,
125,
126,
131,
139,
181,
200,
202,
210,
244; of observation,
93,
95,
139; superficiality and,
178,
203–4; tastelessness and,
186.
See also modernity;
observation;
social accelerationParnaland, Ambroise-François,
106pathological movement,
104perception: apperception,
173–74,
181–82,
226–27; embodied,
215–17,
220,
231; direct (immediate or sensual),
7,
108,
110,
145,
172,
173,
221,
250; mode of (Benjamin),
12–13; “ordinary” (Bergson),
30,
33–36,
98,
102,
213,
235.
See also aesthetic experience;
medical gaze;
medical perception;
observationphotography,
26,
29–30,
170,
193,
211,
216; Brownian motion and,
66–67,
69–70,
71,
73–75; medicine and,
97,
98,
104–05,
112–14,
115;
Naturgetreu and,
179; series,
112–15,
116,
248.
See also chronophotographyphysicians: as bearers of culture (
Kulturträger),
127; doctor–patient relationship,
95,
126; as experts,
126–27political consciousness,
233politics, of contemplation,
230–42The Problem of Form in the Fine Arts (Hildebrand),
221
Proceedings of the Royal Saxon Society for Sciences,
44
Progressive movement,
147protoplasmic bridge theory of nerve development,
80,
81,
83pulp fiction (
Schundliteratur),
127,
151
Radica (conjoined twin),
106Ramón y Cajal, Santiago,
81Raumgestaltung (spatial creation),
226
Refining the Cinema (
Veredelung des Kinos),
156reform: of clothing,
149–50; of education,
148–49,
151; of film,
147,
149,
152–62,
163,
172; in Germany,
147–52;
Kinoreform,
152,
154–55,
160,
184,
238;
Kulturkritik and,
148; modernity and,
149; spirit of,
147–62regulation, of cinemas,
158–59Rembrandt as Educator (Langbehn),
168–69
research film:
15,
19–26,
118,
187,
243,
248; Bergson and,
32–37; Brownian motion and,
62–76,
71,
72; disciplinary contexts of,
97; distribution of,
104; documentary function of,
102–5; educational function of,
105–10; exploratory function of,
98–102; medical,
92–93,
96–125; nerve fibers and,
76–88,
80; overview of,
26–31; public screening of,
107; science of work and,
37–44; tissue cultures and,
76–88.
See also chronophotography;
cinematography;
The Human Gait;
medical filmmakingRheinberger, Hans-Jörg,
24,
250Rockefeller Institute,
83Rousseau, Jean-Jacques,
148Rüswald, K. (teacher),
178
Saint-Louis Hospital,
104scanning (
Schauen),
7,
225Schauen (scanning),
7,
225
Schelling, Friedrich Wilhelm Joseph,
215Schiller, Friedrich,
147,
191,
213,
215; aesthetic contemplation and,
190,
201; aesthetic education and,
167–68,
171; aesthetic experience and,
8,
14,
195–98,
204–7; form drive and,
205,
206; play drive and,
206–7; sense drive and,
204,
206; temporality and,
204–7; vision and,
190Schopenhauer, Arthur,
195,
199,
204,
215,
241; aesthetic experience and,
8,
196,
213,
235; self and,
214; temporality and,
207Schultze-Naumberg, Paul,
150Schülervorstellungen (commercial screenings for children),
181
Schulvorstellungen (screenings for classes),
181
Schundliteratur (pulp fiction),
127,
151
scientific method,
15,
22,
32,
35,
37,
64,
117,
125,
127,
133,
135.
See also experiment;
observationsea squirts (
Botryllus),
76second law of thermodynamics,
40,
65self-cultivation (
Bildung),
141,
145sensuous totality (
Gesamtsinnlichkeit),
224sensus communis (communal sense),
191
shocks, modernity as series of,
187,
192slow-motion cinematography,
27,
86,
123slow-motion projection,
118Social Democratic Party of Germany (SPD),
292n34Society for the Dissemination of Popular Education (Gesellschaft zur Verbreitung von Volksbildung) (GVV),
152,
159Society of Friends of the Schools and Instruction for the Fatherland (Gesellschaft der Freunde des vaterländischen Schul- und Erziehungswesens),
154Society of German Natural Scientists and Physicians (Gesellschaft deutscher Naturforscher und Ärzte),
83,
111“Some Specific Features of the Medical Way of Thinking” (Fleck),
113spatial creation (
Raumgestaltung),
226spectacle, in medicine,
279n63spectatorship,
146,
191,
200–202,
208; analysis, synthesis and,
165; children, crowds and,
162–65; embodied,
216,
220–25; gender and,
165,
231–32; hypnotism and,
135–37; observation and,
11,
13,
16,
91,
92,
95,
96,
110,
139–40,
163,
189,
191–92,
250,
251; theories of film,
11–12.
See also improper viewing;
lay viewers;
negative space“Spectacles of the Earth” (Häfker),
187“The Stage Considered as a Moral Institution” (Schiller),
167staining techniques,
84–85statistical aspect, of medical logic,
113storefront cinemas (
Ladenkinos),
126,
153Stratz, Carl Heinrich,
150Studien zu einer Physiologie des Marsches (Zuntz and Schumberg),
42
sublime, theory of the,
214“Surrealism” (Benjamin),
233Szczepaniak-Gillece, Jocelyn,
241
taste,
94,
143,
146,
147,
155,
160,
166,
200; aesthetics; morality and,
167–68; geometry of,
168; Häfker and,
186–89; ideology and,
191; nation and,
170–71; as
sensus communis,
191; and vision,
145–46,
191technological reproducibility,
235technology,
144; formal relationships in,
4; media,
1–4,
9temporal interruption,
64,
74temporality: of aesthetic experience,
202–14; of observation,
118–26theater: cinema compared to,
236–39; scientific,
180Thomson, William (Lord Kelvin),
40“Thoughts Toward an Aesthetic of the Cinema (Gedanken zu einer Aesthetik des ‘Kino’)” (Lukács),
202,
236Three Essays on Sexuality (Freud),
163
time-lapse cinematography,
23,
30,
84–85,
86,
87,
98,
123,
250; Braus and,
20; medical filmmaking and,
98Tirol in Waffen (
Tirol in Arms) (film),
160
Titchener, Edward B.,
216Tönnies, Ferdinand,
288n9total presentation (
Gesamtvorführung),
188trade journals and magazines,
152–53
UFA,
243,
244; cultural division of (
Kulturabteilung),
243United States,
90,
92,
97,
107,
109,
147–48; Bergson and,
22,
32,
36; object lesson and,
16uplift and educational film,
154
Van Gehuchten, Arthur,
103Veredelung des Kinos (Refining the Cinema),
156
virtual experiments,
84,
100virtual witnessing,
84,
100vitalism and mechanism,
39–40von Helmholtz, Hermann,
40,
215
The Wanderings of Odysseus (
Die Irrfahrten des Odysseus) (film),
157,
158
Weisenburg, Theodore,
103“What Is Enlightenment?” (Kant),
140wholeness and fragmentation,
36–37Wilhelm Meister (Goethe),
236
Women’s Clothing and Its Natural Development (Stratz),
150
The World as Will and Representation (Schopenhauer),
215
World War I,
13,
159,
161–62,
193,
202,
236,
241; class and,
232; gender dynamics and,
231; Häfker and,
301n145; health campaigns and,
127;
Kulturabteilung and,
243; X-ray cinematography and,
102
Zivilisation and
Kultur,
144–45