Analyzing walter benjamins the work of art in the age of mechanical reproduction in 1969

In other words, without history and ritual and cult value, art could not act of its own accord.

Film has no aura. This difference is probably less relevant in the era of television. He also describes how film denies the actor the ability to interact with his audience and to present himself to them in person.

Art, Aura and Authenticity How has capitalism affected our experiences of art and the media? Photography did not take on this new nature from the beginning.

The film was criticized for both the stagings and the stark experimentation, possibly as a result of its director's frequent assailing of fiction film as a new "opiate of the masses.

Think also of newer forms of art, such as TV shows and adverts. However, he also suggests that a tactile appreciation occurs, not consciously, but through habit.

In other words, mechanical reproduction does not focus on the ritual and history of an object. This changed the nature of the work of art, like photography and film, which took on a new function based on exhibition value. Mechanically reproduced art concealed reality.

Also integral to this article is the idea between art being created for the ritual, or spiritual realm, and art created with the intention of being viewed or exhibited.

Evidently a different nature opens itself to the camera than opens to the naked eye- if only because an unconsciously penetrated space is substituted for a space consciously explore by man.

Tradition and ritual have mainly negative meanings for Benjamin. Mechanically reproduced images and sounds culminated in film in the twentieth century. History matters for works of art. In contrast, distraction involves the audience absorbing the work of art.

Instead of being based on ritual, it begins to be based on another practice- politics. With the different methods of technical reproduction of a work of art, its fitness for exhibition increased to such an extent that the quantitative shift between its two poles turns into a qualitative transformation of its nature.

From any other angle, the visibility of props and cameras would render the image unbelievable. The traditional work of art is experienced mainly through distanced contemplation.

Exhibition vales does not favor ritual history. And what happens when people take their models for living from soap operas, adverts, or porn? Their dialectic is no less noticeable in the superstructure than in the economy. The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism.

But, scholars must be careful in their application of Benjamin to their projects. They brush aside a number of outmoded concepts, such as creativity and genius, eternal value and mystery—concepts whose uncontrolled and at present almost uncontrollable application would lead to a processing of data in the Fascist sense.

This market, where he offers not only his labor but also his whole self, his heart and soul, is beyond his reach. He suggests it is an uncomfortable experience in which the body is deprived of substance. Benjamin also discusses the impact on actors of performing for a machine instead of a human audience.

Mechanical reproduction, however, is new. Benjamin thinks that even the original is depreciated, because it is no longer unique. When the historical testimony of an artwork is affected, the authority of the object is jeopardized. Reception of art now normally happens in a state of distraction, especially in the case of film.

It fuses with reality. In my reading, this work has two primary interpretive challenges.

Jamie L. Brummitt, PhD

The aura has disappeared in the modern age because art has become reproducible. I found the following on Wikipediaand I especially enjoyed the last sentence.

This is the difference Benjamin is trying to capture. The first is understanding what he means by this statement in the introduction:walter benjamin; work of art in the age of its technological reproducibility; work of art in the age of mechanical reproduction With the help of scripts I’d developed before, I compared the frequency of items with these strings in them over time.

(N.B. None of these search strings is a perfect indicator of the entity it appears to refer to. Walter Benjamin wrote “The Work of Art in the Age of Mechanical Reproduction” in for a small circle of academics discussing art and mass media.

The article was published in French inin German in andand in English in A brief response to Benjamin’s “Work of Art in the Age of Mechanical Reproduction” with 4 comments I have a confession to make – I have never until quite recently read Walter Benjamin’s Work of Art in the Age of Mechanical Reproduction.

The Work of Art in the Age of Mechanical Reproduction (, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit), by Walter Benjamin, is an essay of cultural criticism which proposes that the aura of a work of art is devalued by mechanical reproduction.

Sep 25,  · Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction focuses on the changes in art as a medium, both cultural and social, by the invention of mechanical reproduction. - Art in the Movie Basquiat Walter Benjamin projected the future of art in the age of mechanical reproduction, providing the basis of aesthetic evaluation for photography, film, digital and reproducible art.

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Analyzing walter benjamins the work of art in the age of mechanical reproduction in 1969
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