WALTER BENJAMIN, Tlluminations SCHOCKEN BOOKS + NEW YORKEater Copyright © 1968 by Hacour Bee Jama In Contents Jarductin Copyright © 19680) Hana eat er Berjonin:rgs-1g, by ano Arce 1 Allright and PA Coyright ede aan: Cemetion Pbln nthe Unies Say Shs ste ee ‘Nov York Dred by Prather tnkysGionet eotes ose ‘evracxina Inc New Sik, Orgy publi Carma vino A Talk about Book Collecting » Fret Conyigh © 1955 Subang Wi, Proton eee bial arama wits Harr Br ooh. An joc tthe Toasason (4 Henan Kor Wo ey beatles bles pares © "hei omits 18-16 of hin Har, Hse (rue stonvrenten Wet i © Refctions on tbe Works of Nika Leskow 8 Indi so by De Han neat pee rigialy Peaaaseaaal ees On the Tenth Anviverary of His Det a Ackowldgent it mae ir perminon ou fot falling From ZT by Fan Klara y ain snd We Mee Coprrgh1957 and renewed 1965 iy Aled A. Keogh Frm Te Guy Frans Kafk Copii 199,150 nd eave ‘waar 1s epic suearEn? co 1958by AeA Kop In. Reprint ermine etch SOME REFLECTIONS ON KAPKA “ (ox some sorts 18 navoeLamn 55 Liban of Congres Calin in-Pubaton Da Boypmin, Wal 692-1, ee io andation a enireionen eprint Originally pte Non Yok: Hancu, CME Wonk OF ARE i THE AGE Bree Wed 1968, (OF MECHASTEAL neBKODUCTION a7 "9 Helen and Kure Will ake tp, Incas bktgraphl referent r 283 1 Uteane— Ales esa Ire {THESES ON THE PHILOSOPHY OF wtsTORY 1. Ave Hava, Tie PNU.B) "196s hor gsarees srron's Nore as ISBN oaszaast 2 \ snes oF Nanurs % naira inthe United Sates of America Fine scent ppertck ton pbb in 9+ The Work of Art in the Age of Mechanical Reproduction. “Our in ets sere developed, tein tyes and mes were etab- skein tomer very ferent from she present, by men whose owt of action upon ting i isiaeas in comparison ite rs. But the aman rows of eur tecbigues, the adaprably lind precion they base atin, he ess and ais tbe) are ‘rong, eae et eran thet profound changes ae impending Sethe acne vet of ibe Besa Im all she ares ate 4 4 cb an na longer be consider emai waafected by our modern "Muaatedge and power. For the lt raenty year) neither marr ‘na pace nor tee has Deew at es rom ie omer. We mut expec great innovations to ivansform tbe entre tcl nique’ of the srs, hereby affecting artic invention tel and Eee ig sha on ming eons ry o- Pot Vay, eas son, SE Cangute de Figen Posi. ‘When Marc undertook his eritique of the capitalisic mode of production, cis mode was in is infancy. Marx dreeted his ‘forts in such a way as to give them prognostic valu. He went beck to the basic conditions underiying capitalsie prodaction and through his presentation shovsed what coold be expected of “The eraasformation of the superstructure, which takes place * Quoted frm Pal Vliy, debts, “The Cone of bis.” gual by Raph Nahe, pap. Pathe Bods, Balingen Sone Yorieae far more slowly tan dat ofthe abructar, has taken more than fs century 0 mnie yall een of cate the change inthe condor at production. Only today cn it be ined ‘va form ths as aken, Certain progosi einen should emer by thee vtement were tee bout the at ofthe probes afer i comatose te of 8 ois society woud have ls bering on thse demands tt thee sou he developmental tendenis of re under preset Condom of production This dali sno le noticable in the sspererucue tan in ehe conomy. Te would therefore Be trong to sndresimate the tue of sich ts a 2 wespen ‘They bresh ane a mmber of ontmodad concep sch ser Avy and gine eteral vale and mystery ooncepe hone Snconroled (and at present alse nonce) aption Soul lead tos procesing of cn the Fasc sere Pe cor Cope wfch are tmoduced into n{theory of ef what fllnes ifr frm she more fair tenn heey arecompitly ntl ore ion friar dems in he a Inpinsplea TIN. rate Stan cout tteye te eter tyme Repos ee Tc by po i prc fc crt OF ane Fe iaing ct wo nds Ey by ted prs te pers of gut hectaniarpredccoa of a work of anhowever,reprces tome nob Fel, adance serenade Iapa ng inerrant wah srr inten The Grek Inkl ore procedure of cialy reprising works of 2 foun nd samp, Brose eta and Cts wre fe enya work wich vy cold proce in gut A Sivas lee ages we coll rs Doacaaly probe Whe woodet poplar beams meets prece Tor he fr tne og before set beeme reece by ri The canmo Changer wiles rings he mech The Wor of A nh Age of Mechel Reprlation reproduction of writing, ae brought about in Uerture area familie sry. However, within the phenomenon which we ae here examining from ihe perspective of world tory, print i merely speci hough pariully important, ae, Dotg the Middle Ages engraving and etching were added tothe wooden st the beginning of te nineteenth century ichography nade 1 ‘pearance ‘With chography the technique of reproduction reached an essentlly new sage. Ths uch more direct procas was di tinguished by the eacing ofthe devgn on 2 sone rather than inction ona Sock of wood ori eching on a copperplate tad Permitted graphic ar forthe fine time co put i progucts on the fe neon ge nner her, tao aly changing forms, Lihograpiy enabled graphic ar toate fveryay hfe and begat keep pace wh pmo. Bat enly hog hy sd (TRIN ies oye perenne ity can te ‘can draw, the proces of pictorial reproduction was accel= «rated so enocmously tht It eould Keep pace with speech. Alm operator shooting a scene ja the studio caprares the images at the speed of an actors speech Justa lithography vtewally implied the illustaged newspaper, 30 did phowograply foreshadow the sound fl, |The rechaical reproduction of sound was tackled at the end oF the lst century. These convergent endeavors made predictable stetion which Paul Valery pointed up inthis sen- fence: “Just as water, gas, and elecricity are brought iaro our houses from far off ro satisfy our needs in response to a minimal effort so we shall be supplied wih visual or auditory inages, ‘which will appear and disppesr at a simple movement of the fhand, hardly more than a sign” (op. itp. 226). Around 1900 technical reproduction had reched a standard that not oly per mitted it to reproduce all eansmicted works of art and thas to ‘use the most profound change in their impact upon the public, ie alo had caprured a place of is own among the artistic proc= wy ‘exes For the study of this standard noching is more\reveling than the manure of the repercussions that these two \fifferent afetanshereprourion of woth of od ar of ‘the Slm—bave had on arti its tradicional form. ; \ subject throughout the time of #s existence. ‘This ineludes the cchinges which it may have sulered in physical condition over the years at well as the varios changes in ts ownership.’ The traces of the fst can be revealed only by chemical or physical analyses which itis imposible to perform on « reproduction; changes of ownership ae subject co a tradition which muse be tr he rigina) ened analyses of the pain oF «Bronze Sin hep to esa thi ar does the proof tat given mane wipe of sus fcom i archive of the fifteenth PErPRETECTRYA Confronted Swih ite manval reproduction, which wat silly branded 2 Torgey, the orginal prcrved all ix authority; not techni production, The rewon ie twoFed Fis, SESSA tthe Tem which i ajasable to the naked eye a ‘tnd choos i mle will And photognphic reprodacxon, ‘with the aid of certain process, such as enlargement or slow Imesion, cin capture images which escape natural vision. Sec- ‘Above all, it enables the original eo SEL the beholder balbway, Toe Work of Ars in be Age of Mechel Reprosucton be it inthe form of a photograph or « phonograph record. The cathedral leaves is locale co be received in the studio of lover ‘of art; the choral production, performed in an auditorium or in 1 nds inthe drswing room. not only forthe a for s landscape which pases in review before the spectator in'a movie. Tn the case of the art object, « most sensive mucleus-namely, its a0- thentcity—is interfered with whereas no natutal object is vulner~ able on that score. The authenticity of a thing is the ence of all tac is transmisibe from its beginning, ranging ftom ie sub- stantve duration to ts testimony ¢o the history which ie has ex- ele Sth Herd inny ret eaten former, t0, i jeopa reproduction when substantive duration ceases eo tater. And what reilly jeopardiaed when the historical rsimony i affected is the authority ofthe object ‘One mighe subsume the eliminated element in te rem “aur i and go on vo say: that which withers in the age of mechanical reproduction is the aura of the work of are, This iss sympto- rnatic process whose significance points beyond the realm of a. Onc mighe genera by saying: the ecg of-sptodaton Sache th rgodel oe inte Goan ees By sna plurality of copies ora unigos entence. And in permicing the reproduction to SSS erie een | eer geal The ey eaeme na 2 a ee eae kecbrene are Serenporey ck Gace tt Recast SEmely clocced WEE eae) orem, That pone ape testo mcar ian pa indy Betmoe fle enh ence eas ‘Suelo, cane bp a te gon ft oa fala ea eae Tes ae epee pea bneal etn ates oat Been ar find Gunceeted eae "ekei inane speare, Rembrande, Bethoven will make films. sll Jegends, all Iythologite and ali myths all founders of religion, and the very eigiows =. swale their exposed resurection, and the heroes Crowd each other atthe gate”"* Presumably without inending ity he sued an initatim fo a far-reaching liquidation, Daring lng periods af hoy, the mode of hanan ese pr ception changes ith hunny’ cate mode of exience. The Shiner in wich human sce prcepsen i organized, the m= ium in wich ti accomplshe, determined nx only by me ture bu by hitoicl ceaances a well Te Bh entry Sch its gr shit of popula, sa the bith of the Ite Roe tan at indiary and te, Vienat Genes, and ae developed fe nly amar diferent frm tha of igty but sho sew Unt of papi, The scala ofthe Vet schol, Reg tnd Widkboth, who seined the weigh of lis tadion Ser we thes te artform hd bn bie, were the fist to draw conclasons from them concerning the crganieaion of erection athe time. However far-reaching thee igh, che Shots lied themalero showing the sgican, formal fallmrk which chareteriaed erection Jn inte Roman tines ‘They did noe stempandy peop sew no wey tow the soci wandormatinnsexpeacd by thaw change of peep. “The conditions fran anrlogoes ight ae more foorable athe prevent And if hangs the medi of eomemporary pce Sem canbe competed a decay of hess, peo show i od rT concep vfvearifwiic wan proposed diore-wih refes- ace to hisoreal beets my fall be sated wih refer toor te sr of taal once We dete sr ofthe ee Sass gente degen ees ey be Ti ule Peng art Sommer sete, you fllw wid Abel Gc “Te ens ot eis ts etl Geyer ee not, The Work of Art im the Age of Mechel Reproduction {your eyes 1 mountain range on the horizon or a branch which at Ser thadow over you, you experience the sure ef those Imounain of that bandh, Ths inage makes cany to Compe hen the social bases ofthe contemporary decay ofthe aut. I. rots on tr eecurmances oth of which ae related to the ine resin Sigacance ofthe mame In contenporty it. Namely, the dere of cootemporsry macs to bring tings “cae” apr Sally and humanly which je a ardent ae thle Bet toward overcoming the eniquentes of every rely by aceping re production Every day the urge grows stronger to get hold of fn object at very cle range by wy offs ene reproduce tion, Unmsatably,reprodacton a ofered hy pierre mage ‘ines and newatech difers fom the age seen by the watt ‘ye, Uniqueness and permanence are a closely inked in the at {eras are cramiornesr and repoduekity inthe former. To ryan object from ial o destroy is sara isthe mur of @ Pereepcon whose “sence of the wnivemaleqaaliey of things” has Irerewed to sucha deree tat exacs it even from a nique object by mean of fepraiction The maf i the fed fof perception what inthe theortal sphere noticable in the ‘nctening importance of settee. The sdjstment of realty to the muses and of the manes to realy 4 proces of unlined ‘cope, at mich for thinking ss Fo pecepion, “The uniqueness ofa work of artis inseparable from ts being inbedded inthe fac of tratvon. This wadton inl is toe ughiy alive and extremely changeile gay ancient watue of (Méclar cope tod a ts Eins comme quite, Greckscwho made te an objet of seneration, tha whe (UC clerics of the Middle Ages. who viewed it as an-ominow HE Port of thm, however, were sxlly confronted with tr unique: nes, that its aura Originally the contextual integration of are fn tadiion found is expression inthe ea. We know tht the Caves are works origiaced inthe service of «ial —Aiethe sugial, then the religious kind. Tei igiiant that the exenceof the work of art with reference to ts aura is never entirely ‘separated from is ritual funetion! In other words the unique alue of the “suthendie™ work of are has its bassin cul, the Tocitin of i origina] se value. This ritual bass, however remot, i sil recognizable as secuarized sit] even inthe most profane forms ofthe cue of beauty.® The secular cult of beauty, teveloped during the Renaisance and prevaling for theee ce tues, clearly showed that ritwalstie bassin its decline and the frse deep crise which befell With the advent ofthe first eraly revolutionary means of reproduction, photography, simuleane- ‘ously with the rise of socihsm, are send the approaching crisis which has become evidene a cearry later. At the time, at re= acted with the doctrine of Fart pow Par, tat, witha theology fof art. This gave rine to what might be called a negative theology in the form of the idea of “pure” art, which noc only denied any social function of ar but ako any eategorzing by subject mute (la poetey, Mallarmé was the frst to take this position.) ‘An analysis of art inthe age of mechanical reprodetion mast do justice to these reltcnship, for they lead usto an all inpor- tant imight: for the frst time in world history, mechanical e- production emancipates the work of art from is parasitica de pendence on rina To an ever greater degree the work of art xprodaced becomes the work of are designed for reproduciil- ity? From a photographic negative, for example, one can make thy se fp for "anne pC ES ‘Sire Dar Ue tent erteion of authentic ceases 0 be Teable ro asic production, the total function OT reir ‘ers. Instead of being based on real begins tobe b Works of ac acess and ved on diferent plies Cen ear types stand out) with one, the accent & on the cult Walue with the other, on the exhibition value of the work” AP aie production epins “WHceremonial objects destined wo serve fra cule One may assume tht whit mattered was their The Work of de he Ae of Meh Reproteen exitnce, not this being on ve. The elk ported by the man ofthe Stone Age on the walls of his cave war 29 nseoment of tag Hed xp itt flow mn, bi the man tS Ian forthe ot Tody the ext wae wold scam de ‘and ht the wok of ae comin hen, Cetin tues of gos Seis yo em eco ea os emin covered nearly ll fer round; corain sealers one diva cated are ove tothe eer on round ler Wh the emocipaon of he aout prac om taal ge inctening opporsniies or the exiblion of their produc eer to cai a port bow that cane ea hve and thee than to exit he sate os iit tht has ts fae pos inthe terior oft temple, The sme ols fore png Boga he moni ote that pede And ove tage the pbc pressnably of «ms rgally may Tve been jos greta tat of a spophony, the ater gael tthe ine hen pte soe pombe to nsp Ha of Wik the diferec metals of technical reproduction of 2 ‘work of at tes for exibition increased to such an extent thr the guumiaive se betwee He evo pols med into alta muafrmaton of tate Tht & compare eo the ston ofthe work of etn pchiaotc tics ote, by the Slt no ie va a fs td free innrumene of ogi. Only lr i exe vo be recoil st 4 vo of az. Inthe sme ay todo, by the able spss teri enon vee te wok oft becomes a xeon With Srciy new fancy tong which he one we ste concions Cf the ance foneo, et ay be reigazed a len? ‘This much is cerain: today photogeaphy and the flm sre the ton seviceshie cramps Poe tee fossa In phoograpty. exhibition value hegins to displace cule value all slog the tine. But eule value does not give way without re- sistance, Tt retires into an ulimate veerenchment. the humanounenance, I sno acide tha the port 38 the foe ine of early photography. The cat of remembrance of loved Foes sent oe deed fers ln efge forthe cole vale of the picture For ehe lst me the aa emanates fom the erly ho- Tograpl inthe Metng expression of + human face. This is wha nmr their melnchay, Momparable beary Bue aman Swithews fom the phorogapic inage he exibion vale for The fie tine shows soperomy roth rina vale. To bat inpinedtisnew sage conus the incompablesignicance SrA, sho, around igo, took phoregraptn of deere Pais Stet Ins ite jot ben do htt He photographed thal eens of nme, The seene of rie, tom deeds FP itphowgephed forte orp of easing evence, With ‘Acq photographs become sandard evidence for historical 0c Cer om el pilin They de rand specie Lind of approach fee Aloating conerplon tot appropriate to them. They sr the viewer, he feels challenged Irons me wy. Ate ne ie pte agin in to pat up signers for him, ight ones or wzong on, no fmner For theft time, capon Have Become obligatory. And iis lear ht hey have an atgeter diferent character than the uae of pumigg The dectives which the captions give to chow looking a posure in orned mapuins soon become ‘Sen more eat and ore imperative inthe fm where the sheoing of eich single perure appear to be precbed Dy the sence of al preceding ones “he sinccetncenary depute at the atc va of incng ven phonograph tiny scene deviws and conse Fi aes woe dia fs lnporane, however enyeung ndeles The pure wera face the por of it {sl tamfomadon the ener impact of whieh wat not rae fed by cer ofthe le When fe ge of mechan! repro diese atom bos cy the semblance off fBtonomy dpsed freer. The sug change te fan The Wok of Ari he Age of Meche Rerobciog son of art eranscended the perspective of the century for «lng time ir even eacapd that f te trendeh seus, which erenced the development ofthe ln ler mich Fe though had teen devoted tothe question of whether photography ‘an are. The peimary_qussibns ‘whether the very SNERTON PROT phy had nt here ‘he eae mtu of ares tot red Son te fl tore Sinn asked he same cmt queton ith regerd tthe Sim. Dut the eifcldes mich pnography cused adional tethtie were mere eh’ py compre to thowe fied by the fm, Whence the insentive an fored charter of ex ‘healer ofthe lm, Abel Gane, for instance, comperes he fn srithHicroglyphe: “Here, by a remartable regrenon, we have ‘ome beck to te level of expesion of the Egyptian... Pe {ort Inguage hes not yet raed became Gu eye fave mt ot ajted tie There ia yet lnuficent respect fo, nat ent culo, what it exprence”* Orin the words of Sve Mare *What are us beta granted « dram move posal and soe ela the tne tne! Approcied ints fon the Aim righe represent an lacompane meine of exresion Only the rom high-minded penenn, inthe mow perf and mene tomentof thr shold be allowed to enter ambience F ‘Alexandre Arnoux conehde his fone aboot the ak fl ‘wih the question; “Do not all the bold decrptions we have {Fen amount to the defiton of prayer?" Ie insrocie ote how their dere to caste fm among the “ara” forces thes theordclans fo sed ital element nto eth sing lack of dscreon. Yer when these speculations were poblshed, fins like L'Opiion publique and The Gold Rah ba alendy appeared. This, however, id moe keep Abel Gance from a acing ietoglyphr for purpose of compation, nor Severin ‘arr from speaking of she fm ae one mighe sped of pings by Fea Angeico.Charscersialy, even today ultareatony store give the le smiar comer sgnfcance if natn “Abel Gace op ape HER I en pos pm E Rtn ale ad anehw wen EOLA Soowsel Stage WS Filo tore contrigh cred one, then at least supernataral ane. Commenting fon Max Reinhard’s film verson of Midsomer Nights reson, Werfel sates that undoubsedly i was che teie copying fof the exterior world with its strets, interiors, aro stations, restaurants motorears, and beaches which until now had ob- tracted the elevation of the film to the realm of at. “The Slzn fas nor yet realized its tue meaning, is rel posites... these ‘consis in its unique faculty to express by natural means and with Incomparable persuasivenes all that i faityike, marvelous, super= atu” © ‘The aninic performance of a sage actor is definitely pre- seated to the poblie by the actor in person; that of the screen actor however is presented by a camera, with a ewvafold conse- ‘quence. The cimeta that presents the performance of the ‘lm ctor to the public need not respect the performance at an in- tegral whole, Guided by the cameraman, the exmern continaally ‘chinges its position with respect to the performance. The s¢- {quence of pisitional views which the editor composes from the ‘ateial supplied him conseutes the completed film. Tt com- ‘ries certain factors of movement which are in redlty those of he camera, not co mention special camera angles, close-ups, ee Hence, the performance of 1 spe teo tub ait coupe foe tr Soy petommne b proce by dem oft ene Abs he Fim ene kets the oppoctaiey of the singe eer fo a WF Ree neg afonee tae ea — Rigel oie saicers pees Tope ea esol nung Te tee Heo Seater seal a Uefcton with he camer Cone. quently the audence kes the patina of abe camer is ape Tre Were, “Ein Soomemacisyen, ip Fim von Sikepee nd Rebar Mins Wit fora, adn be sp Noone ‘The Work of drt in the Age of Meck Reproduction cbigataatg™ ftw ce pare ie B epettateaig ns vom en For the[fimJwhae matter primarily is thatthe actor repre- sens hinl eo te pole BGS We mrs ther Ta Tae Seat someone cli One of the fist tors met Fphost by the form of teting was\Paanddllo Though ie ‘marks on the subject in his novel Si Gia were Hinited to the egative specs of the quston and tothe sent fl ony this tardy inputs thee ality. For in this respect, he sound lm it noe change anything event. What mater is thst the ptt isacted not for an audience be fora mechanical contrivance in the eas ofthe 4nd film fortwo of them, "The i ata vote Pirandello, “fess as ifn eee not only fran the Sage br ths ot HE WE ae ae a Te ogee regret get tage, fickering an inant on the sre 2 See a Pecertor wl play with his sada before the ‘able x Tit be contat to ply belore the cam- “Thi sation igh slsy be Sansa a FoNOW for fhe Bs mead this the eect of the Sln—man bas to ope trace with his whole living persn, yee forgoing fs tre. For aur is ted to his presence, there ean be no replica of i. The fora whieh, on the stage, emanates from Macbeth, cane be separated for the spectators from that ofthe actor. However, the Singularity ofthe shot in the studio tha the camera i subste tured for the public. Consequently, che aura char envciope the Acor vanishes nd with tthe sur ofthe figure he preys Trot surprising thet shou he dram such Pin dello who, in characterizing the film, inadvertently touches on the very eis in which we se the theer. Any thorough Sy ai Pee, ln edb Ln Pre, apr a Basic oe ety ep ree Fody lnste its: Maino proves that there i indeed no greater concrast than that of the age ply to « work of art that & completly subject to or, like ‘the fl, founded in, suechanival reproduction. Experts have long recognized that inthe lmY the grestesefose are elmo always bbtnied by “acing” ae ile-se possble. «7 In 1937 Ru Kinin sw "the cst end“ Ta eng the actor ata sage p chosen for its characerisics and «inserted atthe proper place.” " With this idea something ele is closely connected. The Fuge actor ientfes himself with the characer of his role The flo actor very often ie denied thie opportunity. His ezeation is by no means all ofa piece; iis composed of many separate per- formances. Besides certain fortuitoxs considerations, sich a5 cox of studio, avablgy of fellow players, décor, exc, there are clementiry necesities of equipment chat slic che ector’s work into a series of mountable episodes, In particular, hghting and is insallation require the presentation of an event that, on the sereen, unfolds as rapid and unified scene, in a sequence of Separate shootings which may take hours atthe studio; not to Imeation more obvious montage, Thus » jump [rom the window ‘can be shoe inthe studio asa jomp from seaffld, snd the en- suing Righe, if need be, can be thot weels later when outdoor scenes are taken, Far more paradoxical cases can easly be con= ssrued. Let us assume that ah sctar is supposed to be stared by a knock at the door. If his recon is noe satisfactory, the dir rector con restr to an expedient: when the actor happens to be ft the studio again he fas a shoe Bred behind him ‘without bis being forewarned of it The frightened reaction can be shot now sande cu inca the screen version, Nothing more strikingly shows that art has lefe the realm of the "beso8a f ‘which, 0 Tar Pad Ween GRE Te De The daly sphere where are posing beauty “The feeling of strangeness thet overcomes the actor before ie camera, 2s Pm 5 en — ore one’s own image in the mirtor ‘The Work of Ari te Ae of Mecbasisl Repreducton Bur now ihe reecsed image has become separable, eansportable. Ard he isa ere he pu* Nev or public Never for 3 moment docs the seein actor cease to be Conscious of this fae. Whi facg the om he hws ha ly he wl ae the public the consumers who constitute the market This mar iether he ofers not eny is abor br ako hi wine sl, his teste and souls beyond hs reach. Dring the shotng be bs Slide conc with way aie made na facory. This may Contribute otha oppresion, dat new aniety which, according to Pirndelle, pipe the actor before the camera. The fll se sponds to he srvelng of these wth an asia itp of ei peronaiy” ote he wade. Theale male Sr osered by the money of the fm iadisiry,prsssrse-not Hi jo sun of te pon at : Dy aT» comedy So lang te moniker? cap Efe fahossara rule oe ater revolutonary men cn be tecrdted tony’ lm than the promotion of» revlssoniy ‘thc of tnigomal concep of are We do not deny that Ste ens coy’ fs can aso promote revolutionary cm ‘focal condos ern of the Serbuton of rope. How- fren our psn sy i no more specially concerted with Seiun Ehe Bin pede of Wosern Poop itis inkerent in he tec of the fl ae wet a that of spor thar everybody whe wines fs sccomplihmentsome- “itotan expres ebron co anyone ening to» group ST newsppe ys ning othe yes and ening the Stecome ef a bcyle ace Ie i ot for noting tat newpaper frblshcs arange re for their dlvery boys These use Eres ivr stong heparin, forthe vot fat 2 op ccniy wos tn lve yt pofeioal ree. Se Ais ce nemrel of everone the opportunity tre fom pasty to movi ete, in tin way any mom ge even Hd Kami prs of2 work of ary av witces Vero? Tine Song ‘About Denn o Went Borinage: Any man toy ca ay claim Seng fled. Ths ei on fsb ened by a compart Iota the hits station of conemporry Kesar For cous anal suber of wits were confronted byMision ‘many dhowsands of ceaders. This changed toward the end ofthe Jag century. With the increasing extension of the pres, which pe plicng new police religous scenic, profesional, and local orgs before che renders an ineresang nuber of readers came writes fit, occasional ones Te Bogan withthe dally pres opening to is rend space for sets the eon” And {olay thre hardly gitlly employed European who cold nog pine fds oppor fo pb mew ‘ther einmens on his work, grievance, docimenary spor forthe sore of thing. Than, the dnc benwen shor and Tile sbor ro ls its bc charseter The ference becomes Ineriy feta, may vay from tse to coe At ay mor nen the revered oun 9 iter A expr wich Ie bad to become willy in an excemely spective? work rocan, even fon in tome minor respec, he Fender sine n= fs to suthorhip. inthe Soviet Union work isl given a ice. To prevent verbal spar of «mn silty to perform the work, Litray Heene now founded on pytechoe rather than spcalioed tsining and thus becomes comon propery ‘Alles can easly be applied tothe fm, where Wanstons that ia teraate tok cenares ave come abou ia decade In Cinematic practic, patclrly in Rusa, this change-over has Fly tlcone callie ray. Sam of the jen whet tre mee in Rinna are ot scorn our ste but poole ‘who porta themler-andprinaiy in shir own work prec fin Wenern Eoope the cpiaise expan of the ln See comands nan gate cnt ng reprodice. Under tee circumstances tefl ndtty iy Irso sorte incre ofthe mses tough asin fomodng spesacl and dubiowespcuston, “The shooting ofa fl, expecially of sound fl, affords « spectacle unimaginable anywhere at soy tne before thin Te prez Senta proces in which i is impossible to asf toa specutor 4 vewpoine which would exclude frm the aeusl Scene such The Work of Artin he Age of Machi Repein eanraneous accesories ax camera equipment, lighting machinery, [Ea stant ere—anles hs eye were online parallel wth the ies. This ccumsuance, more tan any other, renders super fc and inguicam any posible simlatity beeen sore in the dio and one onthe stage Inthe theser one wel aware fof the pice from ‘uhich the play canoe immediatly be de teed a illxonry, There i no sch pace forthe movie scene ‘Sat being shot, onary autre that of the second d= ae, the ree of artg. That fo a, inthe sudo the Me Sanical equipment has penetrated so deply ino reat tha pure aspect fred from te foreign ebence of equpnent the esl ofa pecia procedure maely. the shooting by the ope- Gilly sdjed camera andthe mownang of the shot togetier svi cher simiar one, The eqipmenc fee spect of Faliy here has become the height of rece; the sight of immediate realty fas become ap ore inthe land of technology. Een more reveaing i the comparison of Use eeumstances which der so ach from thew ofthe eater, with ches ton in plating. Here the question is How does de amramen compre withthe punter? "To anewer te we ke TeoMINe “SETROgY wr pre operon. The srgeon represents the plat oppose of the maican. The magician eas 3 ick penn Ey the lying on of hands; the srgeon cus into the parents thy. The magician manag the astral dance beren the prsene and himself, though he reduces every aightly by the yng on of hands he grestly incense By vite of fas 33. ‘honky. The surgeon does exacly the reverse; he greatly dinin- ishes the dance between himself nd the patent by peering into the patent's body, and incense i bt ile by the exten, ‘wen whlch hs hand moves smong the organs. n thor, con trast to the magian—oo fal iden nthe mei pact Sioner=rheeungeon a the deckive moment alain from facng the paene man to many rater, es eough the operation hat te penertes ito i x Magician and surgeon compare to painter and camera the cameraman penetrates deeply into ies we. There is tre ‘The painter maincane in his work a natal distance from real3 s 2 z 3 RS % nctecnl egg nnt menos ference between the pictures they obtain, Tht ofthe ner tol one, a of the camera consis of mukipe Tfagmens wich ae snembled under a ne lw. Thus for cto temporary man the repreenetion of rasy by the Alm i comparably more significa tian that of the plac, ance fe oes precy bese of the Horgan permenion of reainy With mechanial eqlpmene, anaes of rly which feof all equipment. And tut what one is eniled to sk ftom 4 work of a. Mechanical reprodeton ofa changes the rection of the amases toward af The reconary atid toward» Beso ing changes tothe pogrive ction vowed 2 Chia hvie The progenive racion i chanced by the dive |e asian of vse] sud enone En opEN aE the | psc heaps of ga ca Te grater the TCE inthe sci significance ofa form, the sharper the dincton between erticism and enjoyment by the publi. The conventional ie uncitically enjoyed, and the truly nevis eriized with aversion. With repatd to the sereen, the erteal and the receptive attitudes ofthe public evincide. The decisive reason for this is that individual resetons ate predeter- ‘mined by the mass audience response they are about to produce, and ths is nowhere mare pronounced than in the fl. The mo- rent these responses became manifest they contol exch other ‘Again, the comparison wich painting is frucul. A painting has alivays had an excellent chance to be viewed by one person oF bby a few. The simultaneous contemplation of paintings by lange publi, such as developed in the nineteenth ceatry, i a8 tarly Symptom of the crisis of painting, 2 crisis which was by rho means occasioned exclusively by photography bue rater in 2 relatively independent manner by the appeal of art works to the maser, Painting simply ia no position to present an object for s- rultaneous collective experience, as it was posible For architec The Wa of dt he Ae of Meh Reoducon ture at all ins, for he epi oem nthe ps nd forthe movi toiay. Although ts ctumaance nisl shld not lad coe t cimchsions tou ch soll lof puting, dw conte 2 ssi heat ean ping, her petal cons a tit were agsns aren conte cy thea Inthe churches aa msi of the Nile Ags aa the princy core up tothe cod ofthe cighenth centary, 2c Tecive recep of pitgs dd not oar siulaneoey, bu ty gralned and Nevrehed staan The change Ga has te sbout i an exprnion ofthe parca conf in which Falning ws inp by the mesa reproducbiy of FriningsAldough puindogs Bogan co be pblelyexhbled i fers lo shee wi no wy forthe mss eganice fd contol tenpeles nee reception. seme pi Which respond in» progresive manner ward + protean ‘Ebon fo respond ina ssactony- mionarto surest ‘The characteristics of the Bim le not only in the manner in which maa presents himself to mechanical equipment but also in| the manner in which, by means of this apparatus, man can Tep- resent his environment. A glee at occupational prychology lustrates the eesting capacity of the equipment. Prychoanalyss lutte ie ina different perspective. The film has enriched our fied of perception with me:hods which can be illuststed by those of Freudian theory. Fifty years ago, a slip of the tongue passed more or les unnoticed. Only exceptionally may such & flip have revealed dimensions of depth in « conversion which hha seemed tobe eking its course on the surface. Since the Psy- ehopathology of Bxerydy Life things have changed. This book Ssoated and made anajzable things vthich had heretofore floated slong unnovced in the broad stem of perception, For the en- tire spectrum of optical, and new alc acousial, perception the film has broughe shout a sinlar deepening of apperception. Ie B only an obverse of ths face thar behavior item shown in a movie ean be analyzed mach mere precisely and ftom amoreMonnaie poincs of view than those presented on paintings at on the stage As compared sith painting, filmed behavior lends ice more Sn elt ys cate Tad SLT SS cmon og Peep apy beget eee ae oe eerie ei es aeens amet Sota ee a ae tial go waeing. Wie slap ace gmt th soe ae pe ple parce Ter, The Work of the de of Meche! Rerun by man, Bren if one his general Inowedge ofthe wa Wak one Loan moshing Ss pens per dag fee tonal cond of «sie: The set of reaching fora Keer ora spoon friar oui, yet we hardly know hry ger on ‘Berween fad and meal, no o motion hw Us Hecate wih fat moods Here the camer atrvenes wih the Routes of fa Jowerings ard ings, neropions and polio ete slon and acesertionn, ts calageent and relutons Thee ‘1a introduces us to unconscious oprics ax does prychoanalyss to “unconsios ipo OS Pompe ‘One of the foremost tasks of at as always been the creation ‘of s demand which cold be fllysatiid only lter!™ The hse tory of every art form shows ertcal epochs in which a cecain ar form aspires to effects which could be fully obtained only ‘with a changed technical sandard, that isto sy, in a new az form. The extravagances and eeudiies of art which thus sppear, particularly in the so-called decadent epochs, actualy arse from ‘the nucleus of its richest historical energie. Ia recent yeas, such brbasisms were abundane in Dadaism, [is only now that m= Palse becomes discernible: Dadaism atempted to create by pie- twrialmand Terary-means the effects which the public today seeks inthe fm, Every fundamentally new, pioneering creation of demands will carry beyond its goa, Dadaism did soto the extent that it ‘serificed the marker values which are so characteristic of the film in favor of higher ambitione-though of course it-was ot conscious of such intentions as here destribed. The Dadaist at- tached much les imporance to the sles value of thelr work than 0 is uselesness for contemplative immersion. The studied degradation of their material was not the leet of their means to achieve ths nseesness. Their poems are “word salad” containing ‘obscenities and every inaginable waste product of language. The same is true of cheirpsincings,on which they mounted buttons sand tickets. What they intended and achieved was 4 releatlesawison destruction ofthe ara oftheir reaton, which they branded ss feproduction withthe very means of production Before a ait ing of Arps or a pocm by Augu Stamm iis impossible to take tie for contemplation and eakintion as one would before {canvas of Dera os poem by Rilke. Ta the deine of mile- {it okay, contenpatin beste schol fr ssc bei icra countered by discon wa vant of socal condace' Dadance eaves actly sosted + eaher vehement dise- ton by making works of ar the eenter of scandal. One seuie- iment tas fren to tage the poi. From an alurng sppearane or perative sractare of sun the wrk of at of the Dadnsts Becme an inetromene of Ble ici chit she spect ke bal, Bapene to ies fopuing tackle quali. Le promoted + demand fr the ly, thedsecing sles of whith pinay tle, bg tnsed on changes of pce and focus which perodealy spall the Spectator. Let os colpare the screen on which fm unflds ‘Fin the canas ols priming. The painting invites the spectator to contempltion, before it the sperator cam abandon himelf {0 his sotto fore the mone frame he canner do so. NO Sooner hu his aye grasped Scoe thn ie lead changed Te, amot be arrested Dubame, who dts the Sim and knows ‘Sng af Hs sicane, though someting of i sucrre, Stic is crease follows ol can no longer think what Tene to thinks My thoughts have been rephced by moving Inages”* The specttor’s proces of anocton in view ofthese irapes is indeed iterraped by thelr constant, sudden change THE constoes the shock fect of the fil, which, Hike all shocks shoud be cushioned by heightened presence of mind trea of technical structure, the Sn has ken the phys {El shock efecto of the wrsppers in which Deda hada twee, Kepeimside the mal sek effect * Georges Dun Seder del ie fae, acy The Wert of Art nthe Age of Mocha Repression ‘Toe mas i tris fro which al endo tao tox Frsnutel into quay. The grexly HERSHEY maw of pac pnt us produced x change she mode of paricpaion. The crite the tow mode of paricpaton nt Spee in a Gi ‘epee form muse nc come the petton Yet some people ive lunched pied tacky gait pecsely this superna spect Atog tae Deane! expe hil nthe mos ‘al manne. Wie be abject to tos the Kind of pac pation which the movie diets fom the names Dube cls the movi "s patine for heat,» diveson for Uncoated ‘etched, workout rests who se comedy tle wor Har yasgrccl wich logue no conceaaton snd pre ‘ppois fo ieligece whlch Kinds igh te ee tod svaken o hope oh than the sels one of someday Becoming an Lon Angsec® Clearly, chest bt Se ance lent hth mn eck dicacon Where ot dans concenaton frm he spear. That 3 common: place: The gucionremins wheter fc provides « lor for {heamly of the in A cover lok sede tere Distacion tod concent foom por opposes which may be sated ‘Shown A man who eopecnate er. ria toed bee ee to He eo te oy goad “BEECH pamer when he viewed ft fined ping. In Contra, the ARncred mae abe the wor of Tae Stow obvious with seed to buling. Archie ht alos Feprescaed the prowrype of s work of an the recon of ‘wlch bcomsinated by» esc in se of dtrction ‘The lars fs reception semester. ullings hove Ben mans companions sce piers dines Many artform have derdoped sad peaked. gly beg ‘vo he Grete eninge with them, and tr Some Insole oly se rove. Fe pe prom, whieh had i gin * Duhamel oft ps8 »