MARC Record from marc_columbia

LEADER: 03602pam a2200517 i 4500
001 12589117
005 20170827153245.0
008 161122s2017 paua b 001 0 eng c
010 $a 2016053770
020 $a9780812249279$qhardcover ;$qalkaline paper
020 $a0812249275$qhardcover ;$qalkaline paper
024 $a40027245859
035 $a(OCoLC)ocn960292616
035 $a(OCoLC)960292616
035 $a(NNC)12589117
040 $aPU/DLC$beng$erda$cPAU$dDLC$dBTCTA$dOCLCO$dBDX$dOCLCF$dERASA$dOCLCQ$dYDX$dNhCcYBP
042 $apcc
043 $ae-gx---
050 00 $aPN1993.5.G3$bK44 2017
082 00 $a791.430943$223
100 1 $aKillen, Andreas,$eauthor.
245 10 $aHomo cinematicus :$bscience, motion pictures, and the making of modern Germany /$cAndreas Killen.
264 1 $aPhiladelphia :$bUniversity of Pennsylvania Press,$c[2017]
300 $a268 pages ;$c25 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aIntellectual history of the modern age
520 8 $aIn the early decades of the twentieth century, two intertwined changes began to shape the direction of German society. The baptism of the German film industry took place amid post-World War I conditions of political and social breakdown, and the cultural vacuum left by collapsing institutions was partially filled by moving images. At the same time, the emerging human sciences-psychiatry, neurology, sexology, eugenics, industrial psychology, and psychoanalysis-began to play an increasingly significant role in setting the terms for the way Germany analyzed itself and the problems it had inherited from its authoritarian past, the modernizing process, and war. Moreover, in advancing their professional and social goals, these sciences became heavily reliant on motion pictures. Situated at the intersection of film studies, the history of science and medicine, and the history of modern Germany, Killen connects the rise of cinema as a social institution to an inquiry into the history of knowledge production in the human sciences. Taking its title from a term coined in 1919 by commentator Wilhelm Stapel to identify a new social type that had been created by the emergence of cinema, Killen explores how a new class of experts in these new disciplines converged on the figure of the "homo cinematicus" and made him central to many of that era's major narratives and social policy initiatives.
650 0 $aMotion pictures$xSocial aspects$zGermany$xHistory$y20th century.
650 0 $aMotion pictures$zGermany$xPsychological aspects$xHistory$y20th century.
650 0 $aCinematography$xScientific applications$zGermany$xHistory$y20th century.
650 0 $aPsychoanalysis and motion pictures$zGermany$xHistory$y20th century.
650 0 $aSocial sciences$zGermany$xHistory$y20th century.
650 0 $aSocial change$zGermany$xHistory$y20th century.
650 7 $aCinematography$xScientific applications.$2fast$0(OCoLC)fst00861503
650 7 $aMotion pictures$xPsychological aspects.$2fast$0(OCoLC)fst01027364
650 7 $aMotion pictures$xSocial aspects.$2fast$0(OCoLC)fst01027384
650 7 $aPsychoanalysis and motion pictures.$2fast$0(OCoLC)fst01081275
650 7 $aSocial change.$2fast$0(OCoLC)fst01122310
650 7 $aSocial sciences.$2fast$0(OCoLC)fst01122877
651 7 $aGermany.$2fast$0(OCoLC)fst01210272
648 7 $a1900-1999$2fast
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
830 0 $aIntellectual history of the modern age.
852 00 $bglx$hPN1993.5.G3$iK44 2017