The Film: A Psychological Study

by Hugo Münsterberg, Richard Griffith (Foreword by)

In 1916, an eminent psychologist recorded his impressions of the fledgling film industry. His penetrating and prescient observations foretold the most modern developments of the cinematic art, and his classic survey, The A Psychological Study, remains a text of enduring relevance to movie historians as well as students of film and psychology.
Ranging from considerations of the viewer's perception of on-screen depth and motion to examinations of the cinema's distinguishing and unique characteristics as an art form, this study arrives at strikingly modern conclusions about movies and their psychological values.

Genres: Film, Nonfiction, Psychology, Art, Theory

128 pages, Paperback

First published December 23, 2001

About the author

Hugo Münsterberg was a German-American psychologist. He was one of the pioneers in applied psychology, extending his research and theories to industrial/organizational (I/O), legal, medical, clinical, educational and business settings.

Not to be confused with Hugo Munsterberg, an expert on Far Eastern art.

Reviews

[Lilian Kong · Rating 5 out of 5]

I really enjoyed this proto-film scholar's theory, especially his justification of film's (the photoplay's) existence as an independent art form. His language is miraculously straightforward while managing to express very nuanced ideas - at times his language is surprisingly poetic. This really goes to show that, even though this book is from way back when, many of its principles resonate today despite how drastically film technology has changed, and thus, contemporary film scholars are still able to actively interact with his ideas! How cool.

[Greta · Rating 3 out of 5]

Though dated, it's really remarkably sophisticated and far-sighted for 1916, an era when most film writings were technical treatises or personality puff-pieces. He discusses the aesthetic nature of film and film grammar, making an early case for film as an independent art form. Thus informed, he feels himself qualified to pontificate on what filmmakers should and shouldn't do on screen, but that's pretty typical of the era when artistic manifestos were all the rage. He would have doubtless been most annoyed by talkies. Also includes the essays Why we go to the Movies (in which he ascribes the development of the close-up to Vitagraph) and Peril to childhood in the movies, as well as an interview and speech. Don't be put off by the introduction by Allan Langdale, which makes Münsterberg sound like such a jerk that you start off not wanting to read anything that he had to say.

[Tom Hammer · Rating 4 out of 5]

Munsterberg surveys the state of silent film in 1916. Still a relatively new phenomenon, he contrasts this new form of media to traditional theater. From our perspective in 2008, much of his analysis seems fairly obvious - yes film is different than theater. But what the book does offer, is a fresh perspective on a form of art often taken for granted. Munsterberg shares insights on why film has meaning, how meaning can take form.

Admittedly his attempts at being prophetic often fall short (film DID eventually introduce sound). But who cares! We already know what happened over the next 90 years. Sometimes it's a pleasure to look back.

[Amanda · Rating 4 out of 5]

This is an incredibly insightful little book examining the status of film as an Art, the definition of Art in general, and the way the movies are shaped by and interpreted by the mind. From 1916, Munsterberg intuits many of the developments of cinema from the standpoint of cognition and applied psychology. Lucidly written and quite engaging.

[Whitney Borup · Rating 4 out of 5]

Much more accessible than the Vachel Lindsay I just read. Explores emerging film art in terms of narrative structure (as opposed to spectacle). Has some great material on adaptation.