BOOKS: The following books are available for purchase in the SLC bookstore. One copy of each is also on reserve in the library:

Lisa Cartwright, Screening the Body: Tracing Medicine’s Visual Culture (Minneapolis: U. Minn Press, 1995) ISBN: 0816622906

Gregg Mitman, Reel Nature: America’s Romance with Wildlife on Film (Cambridge: Harvard University Press, December 1999) ISBN: 0674715713

David Skal, Screams of Reason Mad Science & Modern Culture  (New York : W. W. Norton & Company, 1998)  ISBN: 0393317862.

REQUIRED ARTICLES:

The following series of articles are available through CCE:

1)      Gilberto Perez, “Film and Physics,” from The Material Ghost: Films and Their Medium (Baltimore: Johns Hopkins University Press, 1998), p. 1-28.

2)      Susan Sontag, “In Plato’s Cave,” from On Photography (New York: Anchor Books/Doubleday, 1973), p. 1-24.

3)      Reuben E. Alley Jr., “The Camera Obscura in Science and Art,” Physics Teacher (Journal Publisher: American Association of Physics Teachers, Stony Brook, New York), December 1980, p. 632-638.

4)      Thomas Hankins and Robert Silverman, “The Magic Lantern and the Art of Scientific Demonstration," from Instruments and the Imagination (Princeton: Princeton University Press, 1995), p. 37-71.

5)      Selections from Alan Trachtenberg, Classic Essays on Photography (New Haven, CT: Leete’s Island Books, 1981), p. 11-13, 37-68.

6)      Sander Gilman, ed. The Face of Madness: Hugh Diamond and the Origin of Psychiatric Photography (New York: Brunner/Mazel, 1976), p. 18-48.

7)      Jennifer Tucker, “Photography as Witness, Detective, and Impostor: Visual Representation in Victorian Science,” in B. Lightman, ed. Victorian Science in Context (Chicago: U. Chicago, 1997), p. 378-405.

8)      Andreas-Holger Maehle, “The Search for Objective Communication: Medical Photography in the 19^th Century,” in Renato G. Mazzolini, ed., Non-verbal communication in science prior to 1900 (Firenze: Olschki, 1993),  p. 563-586.

9)      Gustav Holmberg, “Mechanizing the Astronomer’s Vision: On the Role of Photography in Swedish Astronomy, c. 1880-1914,” Annals of Science (Journal Publisher: Taylor & Francis of London), vol. 53 (1996): 609-616.

10)  C.D.B. Bryan, “The Language of the Photograph, 1905-1920” in The National Geographic Society: 100 Years of Adventure and Discovery (Harry Abrams Publishers, 1987 and 1997), p. 118-135.

11)  Marshall McLuhan, “Why Non-literate Societies Cannot See Films or Photos Without Much Training,” and other brief essays in The Gutenberg Galaxy (Toronto: University of Toronto Press, 1962), p. 36-44.

12)  Reese Jenkins, “Technology and the Market: Eastman and the Origins of Mass Amateur Photography,” Technology and Culture (Journal Publisher: Johns Hopkins University Press), vol. 16 (1975): 1-19.

13)  James E. Paster, “Advertising Immortality by Kodak,” History of Photography (Journal Publisher: Taylor & Francis Ltd, London), vol. 16, no. 2 (Summer 1992): 135-139.

14)  Richard J. Lesosky, “Phenakiscope: 19^th century Turned to Animation,” Film History (Journal Publisher: Taylor and Francis, New York) vol. 5 (1993), p. 176-189.

15)  Christopher Lawrence, “Cinema Vérité?: The Image of William Harvey’s Experiments in 1928,” in N. Rupke, ed., Vivisection in Historical Perspective (New York; Routledge, 1987), p. 295-313.

16)  Stacie A. Colwell, “The End of the Road: Gender, the Dissemination of Knowledge, and the American Campaign Against Venereal Disease During World War I,” in Treichler, Cartwright, and Penley, ed. The Visible Woman: Imaging Technologies, Gender, and Science (New York: NYU Press, 1998), p. 44-82.

17)  Martin Pernick, “Defining the Defective: Eugenics, Aesthetics, and Mass Culture in Early-20^th-Century America,” in Mitchell and Snyder, ed., The Body and Physical Difference: Discourses of Disability (Ann Arbor: U. Michigan, 1997), p. 89-110.

18)  T. Hugh Crawford, “Screening Science: Pedagogy and Practice in William Dieterle’s Film Biographies of Scientists,” in Common Knowledge (Journal Publisher: Oxford University Press, New York), vol. 6, no. 2 (1997): 52-68.

19)  Alberto Elena, “Exemplary Lives: Biographies of Scientists on Screen,” Public Understanding of Science (Journal Publisher: Institute of Physics in association with the Science Museum – Bristol, UK), vol. 2 (1993): 205-223.

20)  Susan Lederer, “Repellant Subjects: Hollywood Censorship and Surgical Images in the 1930s,” Literature and Medicine (Journal Publisher: State University of New York Press) vol. 17, no. 1 (Spring 1998): 91-113.

21)  Michael Shortland, “Towards a History of Psychiatry and Psychoanalysis at the Movies,” British Journal for the History of Science (Journal Publisher: British Society for the History of Science, London), vol. 20 (1987): 421-452.

22)  Rayna Rapp, “Real-Time Fetus: The Role of the Sonogram in the Age of Monitored Reproduction,” in Cyborgs and Citadels (Sante Fe: School of American Research Press, 1997), p. 31-48.

23)  Joseph Dumit, “A Digital Image of the Category of the Person: PET Scanning and Objective Self-Fashioning,” in Cyborgs and Citadels (Sante Fe: School of American Research Press, 1997), p. 83-102.

24)  Selections from Judith Kerman, Retrofitting Blade Runner: Issues in Ridley Scott's "Blade Runner" & Philip K. Dick's "Do Androids Dream of Electric Sheep?" (2nd ed., Bowling Green University Popular Press, 1997), p. 90-123.

HANDOUTS or RESERVE:

RESERVE:

Peter Dans, Selections from Doctors at the Movies: Boil the Water and Just say Aah (Bloomington, IL: Medi-Ed Press, 1999), p. 1-21. 55-112.

HANDOUTS:

** Bruce Kawin, “Children of the Light,” in B.K. Grant, ed., The Film Genre Reader (Austin: University of Texas Press, 1986), p. 236-257.

**Donna Haraway, “Apes in Eden, Apes in Space: Mothering as a Scientist for National Geographic,” in Primate Visions (New York: Routledge, 1989), p. 133-185.