Abstract
ABSTRACT: This article examines the 1910s media pedagogy of Dr. Lillian Gilbreth, industrial psychologist and collaborator of Frank Gilbreth in the development of motion study. Intending to reconcile the incongruities between workers and modern machines, Lillian drew on the psychology of William James to devise the theoretical grounds for the Gilbreths' production and use of moving images. The essay shows how Lillian Gilbreth positioned film as an interactive medium, directing experimental exhibition practices that instantiated mimesis among spectators; treated features of bodily difference as individually addressable and serviceable to productivity; and exploited the human body's predisposition for habituation, and therefore predictability.
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