Cinematic Nature: Hollywood Technology, Popular Culture, and the Science of Animal Behavior, 1920-1960

9311571米特曼在19世纪，枪是自然历史不可或缺的一部分。 到了世纪初，许多年轻的自然主义者的职业生涯都是由相机塑造的。 电影迅速而迅速地成为主要依赖于观察和描述的实地实践的科学学科中的方法论工具，并将动物行为等自然历史学科带入了20世纪世纪实验生命科学的高度中介空间。 电影是自然历史学和实验生物学之间的重要桥梁。 一方面，它可以适应现实主义，使中央的做法，博物馆立体模型和研究自然在野外。 另一方面，它使生物学家能够使用实验室中更具干预性的技术：现在，运动和行为被记录在一种介质上，这种介质可以被减慢、分析、拼接和编辑。 然而，与其他专门为实验室科学家创造和开发的技术不同，电影有其主要功能，即作为艺术和娱乐形式的实用性，定义在科学文化领域之外。 科学家们在使用电影时无法摆脱它的娱乐作用。 好莱坞以压倒性的方式定义了媒体的使用、观看和理解，任何参与这项技术的人都无法逃避它的影响。 关于野生动物行为的研究电影往往包含戏剧和流行场面的元素，从而突出了科学和流行文化之间的界限的渗透性。 Mitman博士继续探索动物的研究和表现，通过关注自然历史和动物行为电影，将其作为科学和流行的奇观。 研究始于20世纪20年代的游记传统。 自然历史电影对城市观众的一个重要功能是再现动物的自然栖息地。 然而，电影对研究科学家的重要性却有不同的目的。 在动物行为科学中，银幕上的自然为实地解剖和分析自然提供了重要的方法论手段。 从传统的游记，这个项目然后进入实验实践领域，以检查电影如何帮助定位和塑造动物行为研究领域。 该项目结束时，分析了动物作为科学奇观如何被20世纪50年代的美国公共文化所利用和改造，这一点可以从像Marineland这样的旅游景点的成功以及电视连续剧和电影的流行中得到证明，如“冒险”，“动物园游行”和迪士尼的“真实生活冒险”，数百万家庭在舒适的家中观看。 在整个过程中，该项目挑战了科学普及的扩散模式，并历史地指出了电影的视觉美学深刻塑造了公众对自然环境中动物的理解和期望的方式。 ***

9311571 Mitman In the 19th century, the gun was an indispensable part of natural history. By the early 20th century, the careers of many young naturalists were shaped by the camera instead. Film rapidly and readily became a methodological tool among scientific disciplines that had relied primarily on field practices of observation and description, and transported natural history disciplines, such as animal behavior, into highly mediated spaces of 20th century experimental life sciences. Film served as an important bridge between natural history and experimental biology. On the one hand, it could accommodate the realism so central to the practices of the museum diorama and the study of nature in the wild. On the other hand, it enabled the biologist to use the more interventionist techniques of the laboratory: now movements and behaviors were recorded on a medium that could be slowed down, analyzed, spliced and edited. However, unlike other technologies that were created and developed specifically for scientists in labs, film had its primary function, namely, its utility as an art and entertainment form, defined outside the cultural domain of science. Scientists in using film could not escape its entertainment role. Hollywood had overridingly defined the terms by which the media could be utilized, seen, and understood, and no one who partook in this technology could evade its influence. Research films on wildlife behavior often incorporated elements of drama and popular spectacle, thus highlighting the permeability of boundaries between scientific and popular culture. Dr. Mitman is continuing his exploration of the study and representation of animals as scientific and popular spectacle through a focus on natural history and animal behavior films. The study begins with the 1920s travelogue tradition. An important function of the natural history film for the spectator in cities is the recreation of the animal's natural habitat. However, the importance of film for the research scientist served different ends. Within the science of animal behavior, nature on screen provided an important methodological means for the dissection and analysis of nature in the field. From the travelogue tradition, this project then moves into the area of experimental practice to examine how film helped orient and shape the filed of animal behavior studies. The project ends with an analysis of how animals as scientific spectacle became appropriated and transformed by 1950s American public culture, as evidence by the success of tourist attractions like Marineland and the popularity of television series and films such as "Adventure," "Zoo Parade," and Disney's "True-Life Adventures," seen by millions of families in the comforts of their homes. Throughout, the project challenges a diffusionist model of science popularization and points historically to the ways in which the visual aesthetic of film has profoundly shaped public understanding and expectations of animals in their natural environments. ***