用光影学习:教育灯笼和电影放映,1860-1990 年》,Nelleke Teughels 和 Kaat Wils 编辑(评论)

IF 0.8 3区 哲学 Q2 HISTORY & PHILOSOPHY OF SCIENCE
Deac Rossell
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Pp. 267. <p>The second of three books spawned by the nationally funded B-Magic collaborations between six universities in Belgium, arriving just after Sabine Lenk and Natalija Majsova’s <em>Faith in a Beam of Light</em> (2022; reviewed in the July 2023 issue of this journal) and before Kurt Vanhoutte and Leen Engelen’s <em>The Magic Lantern in Leisure, Entertainment and Popular Culture</em> (forthcoming), this volume with its two companions also announces the new Media Performance Histories series, as part of the Techne collection at Brepols Publishers. Concentrating on the classroom use of projected images in Belgium, this anthology follows its funded mandate with brief excursions to Switzerland, Britain, and Austria, which are academically funded separately. Very little context is given here to magic lantern culture before the founding of Belgium in 1830, and minimal attention is paid to pedagogical concepts used outside the country’s borders, so public lectures are recognized here as a dominant popular educational practice only in the second half of the nineteenth century (p. 51), and most institutional links are to the Belgian phenomena of university extensions and popular universities. True for Belgium, but this leaves aside other histories like that of the Mechanics’ Institutes in Britain, which began in the first half of the century with some 700 active institutes, serving over 120,000 members by 1851. Equally, the focus here on magic lantern slide projection disregards the optical bench used in many classrooms, a kind of disassembled magic lantern that supported projection of a variety of experiments as well as lantern slides, a common instrument in the period under examination, but which only appears in the book after 1919 in the teaching of Robert Pohl at Göttingen University (ch. 7).</p> <p>Several chapter authors note there is only a sparse literature relevant to the themes of the book, all of which are anthologies that are cited when relevant, including Charles Ackland and Haidee Wasson’s study of nontheatrical but not necessarily educational films, <em>Useful Cinema</em> (2011); Devin Orgeron, Marsha Orgeron, and Dan Streible’s wide-ranging <em>Learning with the Lights Off</em> (2012); Anne Quillien’s splendidly illustrated yet pedagogical <em>Lumineuses Projections!</em> (2016); and Martyn Jolly’s Australia-centric <em>The Magic Lantern at Work</em> (2020). <em>Learning with Light and Shadows</em> has some advantages over these prior works in its more concentrated focus, and it supplies much new specific literature that will be useful to the field as a whole.</p> <p>The book delivers some well-argued and well-researched material that might have otherwise escaped the notice of historians engaged more broadly on the topic. The technology of the magic lantern is extended here beyond <strong>[End Page 1039]</strong> installing a projector and some slides or films and includes the necessities for classroom transformation, with blackout curtains, a proper screen, a projection stand, and even electricity. Special attention is also regularly given to the agency of teachers, thereby reinforcing the editors’ mission to “challenge the prevalent top-down approach” to media technology that left both teachers and students as consumers (p. 20). Analysis here deploys the pedagogical debates about imagery in teaching (and the government initiatives that supported or denied it) only as a contextual framework that influenced actual teaching practices in the classroom. The ever-changing tussle between teacher practice and theoretical pedagogy is particularly well explored in the story of the government-imposed standard film projector the Ditmar 1006, produced from 1950 to 1960 in Austria (ch. 8). A note that magic lanterns were provided with a lens of unusually long focal length (16–18 cm) so that they produced the same size image as a 16 mm film projector when operated from the back of the classroom by a teacher (p. 206) is another example of the practical considerations emphasized by the authors here.</p> <p>The ambitious scholarly goals of the book implicitly push much of its text very close to social construction of technology (SCOT) work, even if...</p> </p>","PeriodicalId":49446,"journal":{"name":"Technology and Culture","volume":null,"pages":null},"PeriodicalIF":0.8000,"publicationDate":"2024-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990 ed. by Nelleke Teughels and Kaat Wils (review)\",\"authors\":\"Deac Rossell\",\"doi\":\"10.1353/tech.2024.a933126\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990</em> ed. by Nelleke Teughels and Kaat Wils <!-- /html_title --></li> <li> Deac Rossell (bio) </li> </ul> <em>Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990</em><br/> Edited by Nelleke Teughels and Kaat Wils. 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Very little context is given here to magic lantern culture before the founding of Belgium in 1830, and minimal attention is paid to pedagogical concepts used outside the country’s borders, so public lectures are recognized here as a dominant popular educational practice only in the second half of the nineteenth century (p. 51), and most institutional links are to the Belgian phenomena of university extensions and popular universities. True for Belgium, but this leaves aside other histories like that of the Mechanics’ Institutes in Britain, which began in the first half of the century with some 700 active institutes, serving over 120,000 members by 1851. Equally, the focus here on magic lantern slide projection disregards the optical bench used in many classrooms, a kind of disassembled magic lantern that supported projection of a variety of experiments as well as lantern slides, a common instrument in the period under examination, but which only appears in the book after 1919 in the teaching of Robert Pohl at Göttingen University (ch. 7).</p> <p>Several chapter authors note there is only a sparse literature relevant to the themes of the book, all of which are anthologies that are cited when relevant, including Charles Ackland and Haidee Wasson’s study of nontheatrical but not necessarily educational films, <em>Useful Cinema</em> (2011); Devin Orgeron, Marsha Orgeron, and Dan Streible’s wide-ranging <em>Learning with the Lights Off</em> (2012); Anne Quillien’s splendidly illustrated yet pedagogical <em>Lumineuses Projections!</em> (2016); and Martyn Jolly’s Australia-centric <em>The Magic Lantern at Work</em> (2020). <em>Learning with Light and Shadows</em> has some advantages over these prior works in its more concentrated focus, and it supplies much new specific literature that will be useful to the field as a whole.</p> <p>The book delivers some well-argued and well-researched material that might have otherwise escaped the notice of historians engaged more broadly on the topic. 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引用次数: 0

摘要

评论者 用光影学习:由 Nelleke Teughels 和 Kaat Wils 编辑 Deac Rossell (bio) Learning with Light and Shadows:由 Nelleke Teughels 和 Kaat Wils 编辑。Turnhout:Brepols, 2023。第 267 页。这本书是比利时六所大学之间由国家资助的 B-Magic 合作项目所产生的三本书中的第二本,在 Sabine Lenk 和 Natalija Majsova 的《光束中的信仰》(2022 年;本刊 2023 年 7 月刊有评论)和 Kurt Vanhoutte 和 Leen Engelen 的《休闲、娱乐和大众文化中的魔灯》(即将出版)之前刚刚问世。这本文集的重点是投影图像在比利时课堂上的使用,在完成其资助任务的同时,还对瑞士、英国和奥地利进行了简短的考察,这些国家在学术上是单独资助的。这里很少介绍 1830 年比利时建国前的魔灯文化,也很少关注在比利时境外使用的教学概念,因此这里只是在 19 世纪下半叶(第 51 页)才承认公开讲座是一种占主导地位的大众教育实践,而且大多数机构联系都是与比利时的大学扩展和大众大学现象有关。比利时的情况确实如此,但这却忽略了其他国家的历史,如英国的机械学院(Mechanics' Institutes),该学院始于本世纪上半叶,到 1851 年已有约 700 所活跃的学院,为超过 12 万名成员提供服务。同样,这里对魔灯幻灯片投影的关注也忽略了许多教室中使用的光学工作台,这是一种拆卸下来的魔灯,支持各种实验和魔灯幻灯片的投影,是研究期间的一种常用工具,但在本书中仅出现于 1919 年之后哥廷根大学罗伯特-波尔的教学中(第 7 章)。几位章节作者指出,与本书主题相关的文献非常稀少,所有这些文献都是选集,在相关时都会被引用,包括查尔斯-阿克兰(Charles Ackland)和海蒂-瓦森(Haidee Wasson)对非戏剧但不一定是教育电影的研究《有用的电影》(Useful Cinema)(2011年);德文-奥格隆(Devin Orgeron)、玛莎-奥格隆(Marsha Orgeron)和丹-斯特里布尔(Dan Streible)的《关灯学习》(Learning with the Lights Off)(2012年);安妮-基利安(Anne Quillien)的图文并茂且具有教育意义的《卢米尼斯投影》(Lumineuses Projections!(2016);以及马丁-乔利(Martyn Jolly)以澳大利亚为中心的《工作中的魔灯》(2020)。与之前的这些著作相比,《用光影学习》的一些优势在于它的重点更加集中,并提供了许多对整个领域有用的新的具体文献。该书提供了一些论据充分、研究透彻的材料,而这些材料可能不会引起更广泛地研究这一主题的历史学家的注意。魔灯的技术在这里得到了扩展,不仅仅是安装一台放映机和一些幻灯片或胶片,还包括教室改造的必需品,如遮光窗帘、合适的屏幕、投影架,甚至电力。该书还经常特别关注教师的作用,从而强化了编者的使命,即 "挑战 "媒体技术 "自上而下的普遍方法",因为这种方法将教师和学生都视为消费者(第 20 页)。这里的分析只是将有关教学中图像的教学辩论(以及政府支持或否定图像的举措)作为影响课堂实际教学实践的背景框架。1950-1960年奥地利生产的Ditmar 1006标准电影放映机(第8章)的故事中,对教师实践与理论教学法之间不断变化的争论进行了深入探讨。本书作者强调的另一个例子是,魔灯配备了一个焦距超长(16-18 厘米)的镜头,这样当教师在教室后面操作时,魔灯产生的图像大小与 16 毫米胶片放映机相同(第 206 页)。本书雄心勃勃的学术目标隐含地将大部分文字推向了技术的社会建构 (SCOT) 工作,即使...
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990 ed. by Nelleke Teughels and Kaat Wils (review)

Reviewed by:

  • Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990 ed. by Nelleke Teughels and Kaat Wils
  • Deac Rossell (bio)
Learning with Light and Shadows: Educational Lantern and Film Projection, 1860–1990
Edited by Nelleke Teughels and Kaat Wils. Turnhout: Brepols, 2023. Pp. 267.

The second of three books spawned by the nationally funded B-Magic collaborations between six universities in Belgium, arriving just after Sabine Lenk and Natalija Majsova’s Faith in a Beam of Light (2022; reviewed in the July 2023 issue of this journal) and before Kurt Vanhoutte and Leen Engelen’s The Magic Lantern in Leisure, Entertainment and Popular Culture (forthcoming), this volume with its two companions also announces the new Media Performance Histories series, as part of the Techne collection at Brepols Publishers. Concentrating on the classroom use of projected images in Belgium, this anthology follows its funded mandate with brief excursions to Switzerland, Britain, and Austria, which are academically funded separately. Very little context is given here to magic lantern culture before the founding of Belgium in 1830, and minimal attention is paid to pedagogical concepts used outside the country’s borders, so public lectures are recognized here as a dominant popular educational practice only in the second half of the nineteenth century (p. 51), and most institutional links are to the Belgian phenomena of university extensions and popular universities. True for Belgium, but this leaves aside other histories like that of the Mechanics’ Institutes in Britain, which began in the first half of the century with some 700 active institutes, serving over 120,000 members by 1851. Equally, the focus here on magic lantern slide projection disregards the optical bench used in many classrooms, a kind of disassembled magic lantern that supported projection of a variety of experiments as well as lantern slides, a common instrument in the period under examination, but which only appears in the book after 1919 in the teaching of Robert Pohl at Göttingen University (ch. 7).

Several chapter authors note there is only a sparse literature relevant to the themes of the book, all of which are anthologies that are cited when relevant, including Charles Ackland and Haidee Wasson’s study of nontheatrical but not necessarily educational films, Useful Cinema (2011); Devin Orgeron, Marsha Orgeron, and Dan Streible’s wide-ranging Learning with the Lights Off (2012); Anne Quillien’s splendidly illustrated yet pedagogical Lumineuses Projections! (2016); and Martyn Jolly’s Australia-centric The Magic Lantern at Work (2020). Learning with Light and Shadows has some advantages over these prior works in its more concentrated focus, and it supplies much new specific literature that will be useful to the field as a whole.

The book delivers some well-argued and well-researched material that might have otherwise escaped the notice of historians engaged more broadly on the topic. The technology of the magic lantern is extended here beyond [End Page 1039] installing a projector and some slides or films and includes the necessities for classroom transformation, with blackout curtains, a proper screen, a projection stand, and even electricity. Special attention is also regularly given to the agency of teachers, thereby reinforcing the editors’ mission to “challenge the prevalent top-down approach” to media technology that left both teachers and students as consumers (p. 20). Analysis here deploys the pedagogical debates about imagery in teaching (and the government initiatives that supported or denied it) only as a contextual framework that influenced actual teaching practices in the classroom. The ever-changing tussle between teacher practice and theoretical pedagogy is particularly well explored in the story of the government-imposed standard film projector the Ditmar 1006, produced from 1950 to 1960 in Austria (ch. 8). A note that magic lanterns were provided with a lens of unusually long focal length (16–18 cm) so that they produced the same size image as a 16 mm film projector when operated from the back of the classroom by a teacher (p. 206) is another example of the practical considerations emphasized by the authors here.

The ambitious scholarly goals of the book implicitly push much of its text very close to social construction of technology (SCOT) work, even if...

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来源期刊
Technology and Culture
Technology and Culture 社会科学-科学史与科学哲学
CiteScore
0.60
自引率
14.30%
发文量
225
审稿时长
>12 weeks
期刊介绍: Technology and Culture, the preeminent journal of the history of technology, draws on scholarship in diverse disciplines to publish insightful pieces intended for general readers as well as specialists. Subscribers include scientists, engineers, anthropologists, sociologists, economists, museum curators, archivists, scholars, librarians, educators, historians, and many others. In addition to scholarly essays, each issue features 30-40 book reviews and reviews of new museum exhibitions. To illuminate important debates and draw attention to specific topics, the journal occasionally publishes thematic issues. Technology and Culture is the official journal of the Society for the History of Technology (SHOT).
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