Microcinematography and the History of Science and Film

  title={Microcinematography and the History of Science and Film},
  author={Hannah L. Landecker},
  pages={121 - 132}
The history of microcinematography is explored here as an example of the possible historiographical directions for work on science and film in the twentieth century. Topics discussed include investigations of the role of time in experiment, and the constant interplay between static and dynamic modes of imaging in scientific research; the role of films as depictions of both the objects of science and the process of scientific looking itself; and the possibility for telling a social history of… 

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The apparatus of microcinematography constitutes what might be thought of as a technical portal to another world, a door that determines the experience of the world that lies on the other side of it, in this case, the design of apparatuses to capture time-lapsed images enabled the acceleration of cellular time, bringing it into the realm of human perception and experience.

Film lessons: early cinema for historians of science*

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Science and film-making

  • J. Gouyon
  • Art, Education
    Public understanding of science
  • 2016
The thesis examined here is that since the early days of cinema, film-making has evolved from being subordinate to science, to being an equal partner in the production of knowledge, controlled by non-scientists.

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Cellular Features: Microcinematography and Film Theory

903 1. Andre Bazin, “Science Film: Accidental Beauty,” in Science Is Fiction: The Films of Jean Painleve, trans. Jeanine Herman, ed. AndyMasaki Bellows,MarinaMcDougall, and Brigitte Berg

La vie revelee par le cinematographie

  • Kinematographie der Befruchtung und Zellteilung
  • 1914

For an extended discussion of the role of scientific films in early film theory see Hannah Landecker

  • The Avant-Garde Film: A Reader of Theory and Criticism
  • 1978

Le cinématographie de l'infiniment petit: Comment nos globules blancs dévorent les microbes

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