Haidee Wasson

This chapter, by Lee Grieveson and Haidee Wasson, establishes a framework for studying the Americ... more This chapter, by Lee Grieveson and Haidee Wasson, establishes a framework for studying the American military, a singularly powerful institution, and its relationship to cinema. It first lays out a brief history of the American military and its rise to prominence and power, and then situates the enduring use of cinema across the broad remit of the armed forces alongside previous work in this area. Special attention is paid to the economic and industrial developments that have been intertwined with the military historically. This chapter also summarizes the breadth of the military’s use of cinema, ranging from propaganda to training and from war funding to munitions testing. Knowledge about the military’s use of film helps us to understand more about the history of film and its technologies and also the various ways cinema has been implicated in the complex geopolitical dynamics of the twentieth and twenty-first centuries.

Experimental Viewing Protocols

Cinema's Military Industrial Complex, 2018

This chapter, by Haidee Wasson, addresses the development and use of portable film projectors by ... more This chapter, by Haidee Wasson, addresses the development and use of portable film projectors by the American military during World War II and after. It examines the close ties to the technological wing of the American film industry and situates the innovation and use of film projectors in the context of ongoing experiments with projectors, projection, and film viewing within the armed services. This includes a discussion of standard operating equipment that became widely integrated into military operations as well as more specialized devices: gunnery trainers, consoles, data analyzers, and dynamic projection devices that made moving images into elastic, animated performance pieces. This chapter demonstrates that the military developed an expansive, global viewing platform that normalized film presentation and viewing within a wide range of military activities. This was an unprecedented use of portable film technology, and it helped to catalyze its postwar proliferation in military ...

Cultural histories of cinema

2. Experimental Viewing Protocols: Film Projection and the American Military

Everyday Movies: Portable Film Projectors and the Transformation of American Culture

Journal of American History

Selling Machines: Film and its Technologies at the New York World’s Fair

Films That Sell, 2016

2. Mannered Cinema/ Mobile Theaters

Museum Movies, 2019

Verstärktes Licht und moduliertes Schauen. Geschichten von Experimenten mit kleinen Bildschirmen

Oberflächen und Interfaces, 2018

6. Enduring Legacies

Museum Movies, 2019

The Academy and Motion Pictures

Inventing Film Studies, 2008

lee gRIeveSon And HAIdee WASSon ■ What's in a name? Or, put another way, what do names do? Take t... more lee gRIeveSon And HAIdee WASSon ■ What's in a name? Or, put another way, what do names do? Take three examples, three moments of naming, from the central professional organization for English-language cinema studies. The Society of Cinematologists (SoC), set up in 1959, changed its name to the Society for Cinema Studies (SCS) in 1968; then, in 2003, it changed its name once again to the Society for Cinema and Media Studies (SCMS). One way that names work in such contexts is to function as directives, to exemplify ideals, promises, and ultimately practices for the study of cinema. Names presuppose frames of reference that limit, just as they help create, that which is named. The procedures for naming and renaming the organization for cinema studies and for any other professional organization of study are also part of a wider configuration in which knowledge is produced and regulated in order to establish objects of investigation, research methods, professional standards, and, potentially, disciplines. We understand the term "discipline" here as a procedure for institutionalizing scholarship and conferring authority that finds its locus in the university.1 To explore the definitional chores of one professional organization seeking to confer authority and manage expertise enables us to think about the dynamics underlying three moments, or three configurations of study. These names indicate, respectively, a period prior to full academic institutionalization, characterized by disparate agendas; the formalization of an academic discipline; and the ensuing transformations of that discipline into its present multimedia configuration. Taking this one

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Introduction: Utility and Cinema

Useful Cinema, 2020

Everyday Movies

3. The Mass Museology Of The Modern

4. An Awkward And Dangerous Task

The Other Small Screen: Moving Images at New York’s World Fair, 1939

Canadian Journal of Film Studies, 2012

Cet article fait un portrait extensif des conditions, des conséquences, des contextes d’émergence... more Cet article fait un portrait extensif des conditions, des conséquences, des contextes d’émergence de l’écran petit et portable pendant l’entre-deux-guerres, en se concentrant principalement sur la Foire Internationale de New York 1939-1940, un évènement unique mais négligé dans l’histoire des technologies du cinéma. L’article montre comment le petit écran de projection et ce qu’il rend possible—messages par texte animé, contrôle de la circulation, publicité—permet de concevoir l’histoire de la technologie cinématographique, de l’exploitation, des différents dispositifs d’images en mouvement et de leur circulation, d’une façon productive. L’étude des écrans de petite taille permet aussi de faire la démonstration de la diversité des usages potentiels du film et de la variété des modèles de réception. De plus, il sert d’indicateur quant aux fonctions potentielles du « petit cinéma » de l’après-guerre qui va croitre aux côtés de la télévision et en dépit du déclin des grandes salles.

Cinema’s Military Industrial Complex

Studies in Documentary Film, 2018

North American Speyeria butterflies are a group of conservation concern and a challenge to butter... more North American Speyeria butterflies are a group of conservation concern and a challenge to butterfly systematists. Establishing species delimitation and evolutionary relationships among Speyeria has proven difficult due to the polytypic nature of many species, coupled with the similarity of wing patterns of sympatric species. Recent molecular work has found not all Speyeria species to be monophyletic, which could be explained by improper species definitions, incomplete lineage sorting, or ongoing hybridization and introgression. However, these studies involved broad geographic sampling where molecular markers such as the DNA barcode may be especially subject to incomplete lineage sorting. Here we focus on a more local scale, analyzing the mitochondrial gene cytochrome oxidase subunit I (CoI) to test whether this marker recovers four sympatric Speyeria species: adiaste (W. H. Edwards, 1864), callippe (Boisduval, 1852), coronis (Behr, 1864), and zerene (Boisduval, 1852), in the greater San Francisco Bay Area. We found that CoI works well to separate all four species. Subspecies were less well-defined, with the S. adiaste subspecies clustering separately, but more mixed for the S. zerene and S. callippe subspecies. Overall, our analyses illustrate the utility of the DNA barcode for separating the Speyeria species and suggest further studies to investigate different geographic scales in order to elucidate genetic diversity patterns in this genus in North America.

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Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (review)

Film History: An International Journal, 2006

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Suitcase Cinema

Cinema Journal, 2012

... 1960. This research was made possible by the support of the Social Science and Hunamities res... more ... 1960. This research was made possible by the support of the Social Science and Hunamities research Council of Canada, and by intrepid research assistance supplied by Kristen Alfaro and Matthew Ogonoski. Copyright © 2012 ...

Electric Homes! Automatic Movies! Efficient Entertainment!: 16mm and Cinema's Domestication in the 1920s

Cinema Journal, 2009

... "Fox Promises Pulpit, School, Home Talkers," Variety, October 16, 1929, 6. Fox had ... more ... "Fox Promises Pulpit, School, Home Talkers," Variety, October 16, 1929, 6. Fox had struck a deal with Western Electric: "Wm Fox ... On women and reform during early and transitional cinema see Lee Grieveson, Policing Cinema: Movies and Censorship in Early Twentieth-Century ...

Haidee Wasson

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