'One way in which the recording of human movement became important to the study of nervous phenomena in particular has been discussed by a number of historians, including Joel Snyder, Bob Brain, and Lisa Cartwright. Cartwright (1995), for instance, showed how recorded movements of patients could make it possible for neurologists to make differential diagnoses that relied on miniscule distinctions in such movements - distinctions that were extremely hard to make with the naked eye but that could be discerned on film when the movements were slowed down.' (3710

'Recent work on the relation between cinematography, physiology and psychology has highlighted ways in which appeal to the recording and projection of imagery accompanied a re-conceptualization of scientific objects: where pictorial and photographic visualisation had fixed and stabilized organisms, cinematographic recording demonstrated their motility and mutability (Cartwright 1995, esp. 20-29; Winter 2004; Landecker, 2006; idem, 2011; Schmidgen, 2012).'

'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).'