Janet Harbord
Biographic Data
| ID | 253039 |
|---|---|
| NAME | Janet Harbord |
| GIVEN NAMES | Janet |
| FAMILY NAME | Harbord |
| SIGNATURE | HARBORD J |
| AFFILIATIONS | Queen Mary University of London |
| ORCID | 0000-0002-0581-2193 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 13 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1996 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
François Giraud , Gesture in French Post-New Wave Cinema
Film, observation and the mind
This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage aud…
The visualization of autism: Filming children at the Maudsley Hospital, London, 1957–8
This article examines three films made during the 1950s by Elwyn James Anthony at the psychotic clinic for children at the Maudsley Hospital that marked an important transition in the purpose and practice of visual documentation in a clinical setting: film as a research tool was transitioning from the recording of external signs as indicators of internal subjective states, to the capture of the visual flow of communication between subjects. It is…
Autism through cinema: Co-Creation and the Unmaking of Knowledge
This article discusses the methodological approach of a collaborative research project situated at the intersection of autism and cinema. The Autism through Cinema project stages an encounter between the titular terms in order to challenge the neurotypical assumptions that underpin cinema as an apparatus, and to mobilise new cinematic potentialities. Structured over a period of four years, the project undertakes a series of collaborations between…
European Cinema and Continental Philosophy: Film As Thought Experiment
Ex-centric Cinema: Machinic Vision in the Powers of Ten and Electronic Cartography
After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projecto…
Typewriters, cameras and love affairs: The fateful haunting of Margaret Mead
In the 1930s anthropologist Margaret Mead added photography and film to her written ethnographic method. Working in Bali with her third husband, Gregory Bateson, Mead intended the photographic to provide an accurate record of a culture. But the photographic failed to re-produce Bali. Instead, it actively produced the Balinese as ghostly subjects that escaped capture. In adding photographic technologies to her method, Mead enacted a supplementatio…
Where Does it Happen? John Cassavetes and the Cinema at Breaking Point
Journal Article Where Does it Happen? John Cassavetes and the Cinema at Breaking Point Get access George Kouvaros, Where Does it Happen? John Cassavetes and the Cinema at Breaking Point. Minneapolis, MN: University of Minnesota Press, 2004, 264 pp. Janet Harbord Janet Harbord Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 48, Issue 4, Winter 2007, Pages 555–558, https://doi.org/10.1093/screen/hjm062 Publis…
Playing it Again: Citation, Reiteration or Circularity
Performing parts: Gender and sexuality in recent fiction and theory
Between Identification and Desire: Rereading Rebecca
Between Identification and Desire: "Rereading "Rebecca
Playing it Again: Citation, Reiteration or Circularity
Autism through cinema: Co-Creation and the Unmaking of Knowledge
This article discusses the methodological approach of a collaborative research project situated at the intersection of autism and cinema. The Autism through Cinema project stages an encounter between the titular terms in order to challenge the neurotypical assumptions that underpin cinema as an apparatus, and to mobilise new cinematic potentialities. Structured over a period of four years, the project undertakes a series of collaborations between…
Film, observation and the mind
This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage aud…
Ex-centric Cinema: Machinic Vision in the Powers of Ten and Electronic Cartography
After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projecto…
Performing parts: Gender and sexuality in recent fiction and theory
Between Identification and Desire: Rereading Rebecca
Between Identification and Desire: "Rereading "Rebecca
Playing it Again: Citation, Reiteration or Circularity
Where Does it Happen? John Cassavetes and the Cinema at Breaking Point
Journal Article Where Does it Happen? John Cassavetes and the Cinema at Breaking Point Get access George Kouvaros, Where Does it Happen? John Cassavetes and the Cinema at Breaking Point. Minneapolis, MN: University of Minnesota Press, 2004, 264 pp. Janet Harbord Janet Harbord Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 48, Issue 4, Winter 2007, Pages 555–558, https://doi.org/10.1093/screen/hjm062 Publis…
Typewriters, cameras and love affairs: The fateful haunting of Margaret Mead
In the 1930s anthropologist Margaret Mead added photography and film to her written ethnographic method. Working in Bali with her third husband, Gregory Bateson, Mead intended the photographic to provide an accurate record of a culture. But the photographic failed to re-produce Bali. Instead, it actively produced the Balinese as ghostly subjects that escaped capture. In adding photographic technologies to her method, Mead enacted a supplementatio…
Ex-centric Cinema: Machinic Vision in the Powers of Ten and Electronic Cartography
After a century of cinema, accounts of this cultural form see it as divided between documentation and animation (the real and the magical). Yet the challenge that cinema presented in terms of a relocation of perception from the eye to the machine has become occluded. The shock of cinema in its earliest manifestations resided in the body of the spectator, no longer the site of primary perception, but dependent on an other (the camera, the projecto…
European Cinema and Continental Philosophy: Film As Thought Experiment
Autism through cinema: Co-Creation and the Unmaking of Knowledge
This article discusses the methodological approach of a collaborative research project situated at the intersection of autism and cinema. The Autism through Cinema project stages an encounter between the titular terms in order to challenge the neurotypical assumptions that underpin cinema as an apparatus, and to mobilise new cinematic potentialities. Structured over a period of four years, the project undertakes a series of collaborations between…
Film, observation and the mind
This special issue considers the significance of film to the establishment and development of scientific approaches to the mind. Bonnie Evans explores how the origins of film technologies in 1895 in France encouraged a series of innovative collaborations, influencing both psychological theorisation, and new filming techniques. Jeremy Blatter explains how Harvard psychologist Hugo Münsterberg created early films specifically designed to engage aud…
The visualization of autism: Filming children at the Maudsley Hospital, London, 1957–8
This article examines three films made during the 1950s by Elwyn James Anthony at the psychotic clinic for children at the Maudsley Hospital that marked an important transition in the purpose and practice of visual documentation in a clinical setting: film as a research tool was transitioning from the recording of external signs as indicators of internal subjective states, to the capture of the visual flow of communication between subjects. It is…
François Giraud , Gesture in French Post-New Wave Cinema
Art (8 works) · Sociology (7 works) · Aesthetics (5 works) · Art history (5 works) · Movie theater (4 works) · Psychology (4 works) · Visual arts (4 works) · Anthropology (3 works) · Cinema and Media Studies (3 works) · Computer Science (3 works)