Transdisciplinary Networks of Media Knowledge: Educational and Research Films at the Intersection of Art, Visual Anthropology, and Film Studies in the US from the 1950s to the 1970s

这个项目考虑了从20世纪50年代到70年代美国研究和教育电影与纪录片和实验电影文化之间鲜有研究的相互关系。它探讨了视觉人类学、传播学和电影和媒体研究学科中关于变异性和媒体知识的学术研究与电影在社会工作、政治激进主义、实验电影美学和少数族裔电影表现中的使用的交叉。重点放在三个相互关联的方面：-电影教育学和视觉人类学中的参与式电影制作-身体运动相互作用的电影微观分析的媒体设备-“声音空间”的媒体生态含义这三个领域开辟了相辅相成的媒体历史和科学历史视角。对媒体参与的关注揭示了电影理论和视觉人类学是如何在电影教育学、传播学研究、“反贫困战争”的社会政治、媒体激进主义和民权运动的政策背景下纠缠在一起的。对微观分析的关注展示了电影分析的实践、理论方法和程序是如何形成电影的心理学和审美观的。第三个焦点追溯了声音空间的媒介生态概念如何从民族志研究进入媒介研究，然后进入实验电影、扩展艺术和电影教育学。综合这三个领域，这三个领域打开了对20世纪50年代至70年代美国媒介知识网络的视角，揭示了关于媒介、传播和认知的实证和理论研究如何纠缠于社会实践和政治进程以及技术和美学的发展。因此，该项目有助于对电影认识论、媒体考古学和美学知识的研究。同时也揭示了非戏剧性的电影制作模式对电影传媒学和视觉人类学学科形成的重要性。

This project considers the little studied interrelations between research and educational films with documentary and experimental film cultures in the US from the 1950s to the 1970s. It looks into the intersections of academic research on alterity and media knowledge in the disciplines of visual anthropology, communication science and film and media studies with uses of film in social work, political activism, experimental film aesthetics and the filmic representation of minorities. The focus is on three interrelated aspects:- participatory filmmaking in film pedagogy and visual anthropology- media apparatuses of filmic microanalysis of body motion interaction- the media ecological implications of "acoustic space"The three areas open up complementary media historical and science historical perspectives. The focus on media participation reveals how film theory and visual anthropology were entangled in contexts of film pedagogy, communications research, the social politics of the „War on Poverty“, media activism, and policies of the civil rights movement. The focus on microanalysis demonstrates how practice theoretical methods and procedures of film analysis shaped epstemological and aesthetic conceptions of film. The third focus traces how the media ecological concept of acoustic space traveled from ethnographic research into media studies and then into experimental film, expanded arts and film pedagogy.Considered together, the three areas open up a perspective on networks of media knowledge in the US during the 1950s to 1970s that reveals how empirical and theoretical research on media, communication, and cognition was entangled in social practices and political processes as well as technological and aesthetic developments. The project thus contributes to research on cinematic epistemologies, media archeologies, and aesthetic knowledge. At the same time it reveals the importance of nontheatrical modes of filmmaking for the formation of the disciplines of film and media studies, and visual anthropology.