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This chapter, by Noah Tsika, considers the U.S. military’s cultivation of documentary as a form of “useful cinema,” arguing that the institution’s emphasis on formal hybridity and pedagogic adaptability, far from being a neutral reflection of the contingencies of wartime, was, in fact, strategic—part of a broader attempt to naturalize the large-scale military and ensure its permanence. Even when the military identified them as timely documents designed to catalyze an Allied victory, many World War II training films were meant to last—to remain useful tools of the American military-industrial state, whether screened in conjunction with the public-education initiatives of local newspapers or excerpted for use in private manufacturing plants.

This chapter continue the focus on the law of correlation’s imbrication with mid-Victorian modernity, exploring its close relation to the central symbol of this new age of entrepreneurship, industry and consumerism: the Crystal Palace. It considers both the Great Exhibition and then the commercial reconstruction of the Crystal Palace at Sydenham, examining how, with the expensive life-sized models of prehistoric creatures built at the latter, the demands of mid-nineteenth-century commerce gave a new impetus to the endorsement of the law of correlation, ensuring that it remained central to the new forms of print culture, and modes of visual education and entertainment that were emerging in the 1850s.

When Halle’s Orphanage was first founded, a related and immediate aim was to inspire the creation of a global network of scientific academies or schools, who would pursue coordinated research. It is fitting that this book should come to a close with a discussion of efforts to replicate the Orphanage as scientific community in other places. This last section of the book focuses on three types of institutional replicas: orphanage-based institutions comprised of day schools (specifically the cases of those founded in Langendorf/Weissenfels, Sulechów and Zittau), institutions that more closely resembled the Pädagogium (Königsberg’s Collegium Fridericianum) and Johann Julius Hecker’s “school of the real” or Realschule in Berlin. Additionally, the book concludes by reflecting upon the Halle Orphanage’s ability to remain a viable institutional model that contributed to what were on-going conversations about science, philanthropy and visual education throughout the eighteenth century--despite the controversy it became entangled in and its association with the University of Halle’s theology faculty.

This chapter, by Florian Hoof, describes how the military utilized vocational training films in the 1910s and how producing, promoting, and selling such films turned into a profitable business model for filmmakers. It specifically looks at vocational training films produced by Frank Gilbreth for the U.S. Army in the context of the Great War. Due to the development of industrialized warfare, concepts from Gilbreth’s industrial work proved to be newly relevant for the military. Film addressed the problem of how to organize the transfer of complex topics in military training. The chapter sheds new light on the interrelations between film, the organizational culture of the military, and educational theory. Lastly, the utilization of film in the military is situated in the broader context of a film history on nontheatrical film.