' During the first decades of the twentieth century, cinematographs were frequently deployed in attempts to inscribe and represent the motile aspects of life. Such interests were accompanied by further innovations in cinematographic tools themselves. For example, at the Institut Marey, Charles-Émile François-Franck and Lucien Bull developed means of recording and projecting living nature in three dimensions, and adapted celluloid film for the creation of highly sensitive myographic equipment (Bull 1910; Cartwright 1995, 40-46). During the 1920s, Sherrington and the group of his students and colleagues associated with the Oxford laboratory of physiology would adapt these latter tools to their 'optical myograph' studies of minute muscle movements (Sherrington 1921, 245-246). Such studies constituted a re-assertion of the representational over the stimulatory possibilities that cinematographic devices afforded.'