Abstract This article analyses the production and reception of the natural history film series Secrets of Nature (1919–33) and its sequel Secrets of Life (1934–47), exploring what these films reveal about the role of cinema in public discourses about science and nature in interwar Britain. The first part of the article introduces the Secrets using an ‘intermedial’ approach, linking the kinds of natural history that they displayed to contemporary trends in interwar popular science, from print publications to zoos. It examines how scientific knowledge was communicated in the series, especially the appeal to everyday experience as a vehicle to engage mass audiences with scientific subjects. The second part examines the Secrets series through the lens of knowledge co-production, detailing how a range of different figures, including academic scientists, nature photographers, producers and teachers, became entangled in making the films. Recovering the term ‘ciné-biology’, it argues that Secrets developed a unique style of filmmaking that generated cultural space for the life sciences in British popular culture. The third part analyses two interwar cinema experiments to explore how audiences, imagined and real, shaped the kinds of natural knowledge characterized by the Secrets films.

中文翻译：

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电影生物学家：两次世界大战期间英国的自然历史电影和知识的联合制作

摘要 本文分析了自然历史系列电影《自然的秘密》(1919-33) 及其续集《生命的秘密》(1934-47) 的制作和接受情况，探讨这些电影揭示了电影在关于科学和科学的公共话语中的作用。两次世界大战期间英国的自然风光。文章的第一部分使用“中间”方法介绍了这些秘密，将它们展示的各种自然历史与战间流行科学的当代趋势联系起来，从印刷出版物到动物园。它研究了该系列中科学知识的传播方式，尤其是将日常经验作为吸引大众观众参与科学主题的工具的吸引力。第二部分通过知识共同生产的视角审视了 Secrets 系列，详细介绍了一系列不同的人物，包括学术科学家，自然摄影师、制片人和教师，开始忙于制作电影。恢复“电影生物学”一词，它认为秘密开发了一种独特的电影制作风格，为英国流行文化中的生命科学创造了文化空间。第三部分分析了两次世界大战之间的电影实验，以探索想象和真实的观众如何塑造秘密电影所表征的各种自然知识。