Walter benjamin work of art essay

The equipment-free reality, appearing as credibly real, is paradoxically only the effect of extensive artifice. Benjamin criticises the usual account whereby true art is contemplated and the masses seek only distraction. Works of art themselves are also recomposed from fragments.

The result is a reinstatement of the aura and cultic values into political life, a process which inevitably ends in war Society perceived art as a unique instrument of traditional values. Film feels as if it frees the viewer from the confining modern environment, by gestures such as speeding-up and close-ups.

Those artifacts that are man-made could just be imitated by men. Authenticity cannot be reproduced, and disappears when everything is reproduced. He suggests it is an uncomfortable experience in which the body is deprived of substance.

Reactionaries attempt to revive the old, ritual function of art. This accelerated the reproduction of art to a much higher speed and drive art into its manipulative properties. In earlier times, even everyday objects, such as clothes and cutlery, would often be hand-made and unique.

For example, a photograph or film of a Catholic cathedral denudes its unique aura, transforming the role of participant into that of a spectator or possibly a detached commentator. The viewer of films or photographs takes the position of the cameraman.

Interestingly, even the Walter benjamin work of art essay perfect reproduction of art work is also lacking in one element. In declining bourgeois society, this became an asocial stance. The aura of the actor, and of the character portrayed by the actor, vanishes because the camera is substituted for the audience.

The change Benjamin saw was the growing propaganda or mobilisation potential of images. In theatres, the audience witnessed the one and true form of a performance and actors performed naturally and in a way that pleased their audience.

Films, TV and photography are also unusually prone to spectacle. Its presence in time and space, its unique existence at the place where it happens to be. But radical authors, too, usually analyse it in terms of a debilitating submersion and a loss of space and time to think.

A statue or idol conveyed a sense of detached authority, or frightening magical power, which inhered in and only in that particular historical artifact.

As a result, the experiences connected with ritual and tradition are lost. In contrast, modern cultural forms such as photographs, TV shows and film do not lend themselves to contemplation. A painting when drawn can have a cultural or emotional attachment between the artist and the subject and what the artist feels about it at that time.

The reproduction of art can contribute in manipulating the credible material in the favour of the fascists but on the other hand, it can be beneficial in the revolution of politics of art.

The influence of the technological reproduction of the work of art tends to play a significant role on the cultural and political values of the society and fascists. The idea of the mirror is central to ego-formation in psychoanalysisand the idea of an alienated double is widespread in fairy tales.

He also suggested that in certain instances the autonomous work of art excludes the aura and produces greater self-rationalization Wolin Each time, paradoxically, the new emergence has left the system stronger than it was before.

Ritual is not necessarily reactionary. Distraction is fundamentally social. It also includes the legitimacy accorded to the object by a lengthy historical existence. The work of art can be disconnected from its past uses and brought into new combinations by the reader.

This difference is probably less relevant in the era of television. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power.

Summary “The Work of Art in the Age of Its Technological Reproducibility”

This aura is the only and rare quality that surrounds art with its emotional and historical beliefs. This is a standpoint which cannot be mystified. The reproduction in mass of such an item would have been unthinkable because it was its unique singularity that produced the sacrality of the ritual.

The net effect of these innovations is to place the viewer in the impersonal position of critic—something prior cultic experiences of art would never have allowed The absorption of art becomes tautological, and the lines of flight available are correspondingly reduced. Instead it substitutes aesthetic expression into the world of politics, thus supposedly allowing the masses the right to self-expression.In the third of his eight-part series on critical theorist Walter Benjamin, Andrew Robinson examines Benjamin's famous thesis that mechanical reproduction has transformed the arts, and explores what a 'political art' might look like.

Wolff J., ‘Memoirs and micrologies: Walter Benjamin’s artwork essay reconsidered’, in Laura Marcus and Lynda Nead (eds), The Actuality of Walter Benjamin, (London: Lawrence & Wishart Limited, ). Wolin R., Walter Benjamin: An Aesthetic of Redemption, (Berkeley: University of California Press, ).

Summary “The Work of Art in the Age of Its Technological Reproducibility” This is my first attempt at Academic writing.

The Work of Art in the Age of Mechanical Reproduction

I have written a short summary on Walter Benjamin’s Essay “The Work of Art in the Age of Its Technological Reproducibility”. Benjamin’s Work of Art. Custom Benjamin’s Work of Art Essay Writing Service || Benjamin’s Work of Art Essay samples, help Walter Benjamin's influence particularly on the theory and also practice of art history as seen in the English-speaking world seems to have grown substantially recently, and largely this may be due to the increasing.

translated by Harry Zohn, from the essay New York: Schocken Books, The Work of Art in the Age of Mechanical Reproduction WALTER BENJAMIN “Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours.

now of the work of art-its unique existence in a particular place. It is this unique existence-and nothing else-that bears the mark of the his­ tory to which the work has been subject.

This history includes changes to the physical structure of the work over time, together with any changes in ownership.

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