Te Hennepe Mieneke
Department of Medical Ethics and Health Law, Leiden University Medical Centre (LUMC), the Netherlands, and Rijksmuseum Boerhaave, Leiden, the Netherlands.
Br J Hist Sci. 2023 Sep;56(3):329-349. doi: 10.1017/S000708742300016X.
This paper examines how the production, content and reception of the film (1924) influenced the historical framing of science. The film features microcinematography by the pioneering Dutch filmmaker Jan Cornelis Mol (1891-1954), and was part of a dynamic process of commemorating seventeenth-century microscopy and bacteriology through an early instance of visual re-creation - a new way of using scientific material heritage, and of enabling audiences to supposedly observe the world of microscopic organisms in just the same way as the Dutch scientist Antoni van Leeuwenhoek (1632-1723) had observed them for himself. Knowledge transfer concerning material culture, around both historical and contemporary instruments, was the determining factor in the microcinematography practices applied in this film. The production and experience of the film also mirrored the seventeenth-century process of experimentation, playing with optics, and visualizing an entirely new and unknown world. Unlike other biographical science films of the 1920s, featured abstract depictions of time and movement that allowed the audience to connect the history of science with microcinematography, contributing to the memory of Van Leeuwenhoek's work as the origins of bacteriology in the process.
本文探讨了电影《》（1924年）的制作、内容和接受情况如何影响了科学的历史框架构建。这部电影采用了荷兰先锋电影制作人扬·科内利斯·莫尔（1891 - 1954）的显微摄影技术，是通过早期视觉再创作来纪念17世纪显微镜学和细菌学这一动态过程的一部分——这是一种利用科学物质遗产的新方式，能让观众以荷兰科学家安东尼·范·列文虎克（1632 - 1723）亲自观察的同样方式来观察微观生物世界。围绕历史和当代仪器的物质文化知识传播，是这部电影所应用的显微摄影实践中的决定性因素。该电影的制作和体验也反映了17世纪的实验过程，涉及光学运用以及呈现一个全新未知的世界。与20世纪20年代的其他传记类科学电影不同，《》以抽象的方式描绘了时间和运动，使观众能够将科学史与显微摄影联系起来，在此过程中助力将列文虎克的工作铭记为细菌学的起源。
