ABSTRACT
The films of Painlevé, Buñuel, or Dalí make it easy to forget the murderous legacy of Marey’s inventions. Following the model of Londe, who had provided an iconography for unconscious poses and developed dispositifs of the female or male unconscious, film became the model and then also the substitute for conventional medial diagnoses. “Film reproduces” was plainly stated in the protocols, and one enthusiastic researcher among the clinicians, Emil Kraepelin, who had completed his education with Wundt, would turn to the cinema in relief in his Munich psychiatric practice. The cinematogram archive would spare him the confusion and madness of the patients at his station: 1
In order to demonstrate the meaning of the cinematograms that Weiler has been taking for years at the psychiatric clinic in Munich for clinical teaching purposes, selected pictures were presented. Since the main advantage of cinematography for teaching is that it visually reproduces the attacks, it was initially paralytic, epileptic, and hysterical attacks that were presented. 2
