There are many points of contact between film and psychology. Across the decades, scholars have made film the object of psychological analysis,1 while psychiatrists and psychologists pervade cinema and television, from Alfred Kinsey to Hannibal Lecter.2 Early documentary films addressing psychology include Glub Glub and the Monkeys (Robert Allen, 1975), about the research of Robert and Joan Hinde on infant development in primates. More recent works in this genre are, among others, The Human Behavior Experiments (Alex Gibney, 2006), about the Milgram and Zimbardo obedience experiments, and The Dark Matter of Love (Sarah McCarthy, 2013), about the family relationships of adopted children who had previously received care in institutions. Yet despite these engagements between psychology and film, the vast archive of film footage produced by psychological science has been almost entirely neglected as an object of film studies scholarship. It is true that there has been some commentary on the use of film in science:3 in terms specifically of psychological science, Emma Wilson has offered a brief but beautiful analysis of Alain Resnais’s use of footage from evolutionary psychology in Mon oncle d’Amérique,4 while Lisa Cartwright has studied the films made by René Spitz of infants in institutional care and the role played by these films in scaffolding calls for reform in care arrangements for children.5 Apart from these exceptions, however, psychological footage itself has not to date been subject to the tools of film theory. Similarly no attention has been paid to the rich and intriguing methodological discussions about film within the psychological literature itself: regarding the advantages of using silent film as stimulus material to assess children’s attributions about the beliefs and desires of others, for instance, or of using film as a stimulus in neuroimaging research when a subject is unable to move their head.6 The absence of attention to these fields is at odds with a growing trend in wider humanities scholarship, in which critics are starting to engage in meaningful dialogue and contention with the sciences rather than tacitly complying with the doctrine of the two inhabiting ‘separate spheres’.7 In paying close attention to

中文翻译：

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拍摄杂乱无章的依恋

电影和心理学之间有很多接触点。几十年来，学者们将电影作为心理分析的对象，1 而精神病学家和心理学家则遍布电影和电视，从阿尔弗雷德·金赛到汉尼拔·莱克特。 2 早期关于心理学的纪录片包括 Glub Glub 和猴子（罗伯特·艾伦，1975 年），关于 Robert 和 Joan Hinde 对灵长类动物婴儿发育的研究。该类型的最新作品包括人类行为实验（亚历克斯吉布尼，2​​006 年），关于米尔格拉姆和津巴多的服从实验，以及爱的暗物质（莎拉麦卡锡，2013 年），关于收养儿童的家庭关系以前在机构中接受过护理的人。然而，尽管心理学和电影之间有这些联系，作为电影研究奖学金的对象，心理科学制作的大量电影素材档案几乎完全被忽视了。确实有一些关于电影在科学中的使用的评论：3 特别是在心理科学方面，艾玛·威尔逊对阿兰·雷奈在 Mon oncle d'Amérique 中使用进化心理学的镜头进行了简短而优美的分析， 4 而丽莎卡特赖特研究了由勒内施皮茨拍摄的婴儿在机构照料​​中的电影，以及这些电影在脚手架中所扮演的角色，呼吁对儿童的照料安排进行改革。 5 然而，除了这些例外，心理录像本身迄今为止还没有一直受制于电影理论的工具。