The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media

Benjamin’s famous “Work of Art” essay sets out his boldest thoughts—on media and on culture in general—in their most realized form, while retaining an edge that gets under the skin of everyone who reads it. In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought. This essay, however, is only the beginning of a vast collection of writings that the editors have assembled to demonstrate what was revolutionary about Benjamin’s explorations on media. Long before Marshall McLuhan, Benjamin saw that the way a bullet rips into its victim is exactly the way a movie or pop song lodges in the soul. This book contains the second, and most daring, of the four versions of the “Work of Art” essay—the one that addresses the utopian developments of the modern media. The collection tracks Benjamin’s observations on the media as they are revealed in essays on the production and reception of art; on film, radio, and photography; and on the modern transformations of literature and painting. The volume contains some of Benjamin’s best-known work alongside fascinating, little-known essays—some appearing for the first time in English. In the context of his passionate engagement with questions of aesthetics, the scope of Benjamin’s media theory can be fully appreciated. (20080704) Contents......Page 6 Illustrations......Page 8 A Note on the Texts......Page 10 Editors' Introduction by Michael W. Jennings......Page 14 Notes......Page 30 PART I: THE PRODUCTION, REPRODUCTION AND RECEPTION OF THE WORK OF ART......Page 22 I......Page 32 II......Page 33 III......Page 34 IV......Page 36 V......Page 37 VI......Page 38 VIII......Page 40 IX......Page 41 X......Page 42 XI......Page 44 XII......Page 45 XIII......Page 46 XIV......Page 47 XV......Page 49 XVI......Page 50 XVII......Page 51 XVIII......Page 52 XIX......Page 54 Notes......Page 55 2. Theory of Distraction......Page 69 Notes......Page 70 3. To the Planetarium......Page 71 4. Garlanded Entrance (On the "Sound Nerves" Exhibition at the Gesundheithaus Kreuzberg)......Page 73 Notes......Page 77 5. The Rigorous Study of Art (On the First Volume of the Kenstwissenschaftliche Forschungen)......Page 80 Notes......Page 85 6. Itnperial Panorama......Page 88 Notes......Page 89 7. The Telephone......Page 90 8. The Author as Producer (Address at the Institute for the Study of Fascism, Paris, April 27, 1934......Page 92 Notes......Page 106 I. Fourier, or the Arcades......Page 109 II. Daguerre, or the Panoramas......Page 112 III. Grandville, or the World Exhibitions......Page 113 IV. Louis Philippe, or the Interior......Page 115 V. Baudelaire, or the Streets of Paris......Page 117 VI. Haussmann, or the Barricades......Page 119 Notes......Page 122 I......Page 129 II......Page 132 III......Page 136 IV......Page 138 V......Page 141 VI......Page 144 VII......Page 147 VIII......Page 149 IX......Page 152 X......Page 153 Notes......Page 156 11. Review of Sternberger's Panorama......Page 171 Notes......Page 176 PART II: SCRIPT, IMAGE, SCRIPT-IMAGE......Page 180 12. Attested Auditor of Books......Page 184 Notes......Page 185 13. These Surfaces for Rent......Page 186 14. The Antinomies of Allegorical Exegesis......Page 188 Notes......Page 191 15. The Ruin......Page 193 Notes......Page 197 16. The Dismenlberment of Language......Page 200 Notes......Page 203 17. Graphology Old and New......Page 205 Notes......Page 206 PART III: PAINTING AND GRAPHICS......Page 208 18. Painting and the Graphic Arts......Page 232 Notes......Page 233 A. The Sign......Page 234 B. The Mark......Page 235 Notes......Page 238 20. A Glimpse into the World of Children's Books......Page 239 Notes......Page 248 21. Dream Kitsch (Gloss on Surrealism)......Page 249 Notes......Page 251 22. Moonlit Nights on the Rue La Boetie......Page 253 Notes......Page 254 23. Chambermaids' Romances of the Past Century......Page 256 Notes......Page 261 Triptych: First Minute, Second Minute, Third Minute......Page 262 First Minute: On the Scaffold......Page 263 Third Minute: In Eternity......Page 264 Notes......Page 265 25. Some Remarks on Folk Art......Page 267 Notes......Page 269 26. Chinese Paintings at the Bibliotheque Nationale......Page 270 Notes......Page 273 PART IV: PHOTOGRAPHY......Page 276 27. News about Flowers......Page 284 Notes......Page 286 28. Little History of Photography......Page 287 Notes......Page 308 29. Letter from Paris (2) (Painting and Photography)......Page 312 Notes......Page 320 30. Review of Freund's Photographie en France au dix-neuvieme siecle......Page 325 Notes......Page 327 PART V: FILM......Page 328 31. On the Present Situation of Russian Film......Page 336 Notes......Page 339 32. Reply to Oscar A. H. Schmitz......Page 341 Notes......Page 344 33. Chaplin......Page 346 Notes......Page 347 34. Chaplin in Retrospect......Page 348 Notes......Page 350 35. Mickey Mouse......Page 351 Notes......Page 352 36. The Formula in Which the Dialectical Structure of Film Finds Expression......Page 353 Notes......Page 354 PART VI: THE PUBLISHING INDUSTRY AND RADIO......Page 356 Notes......Page 366 38. A Critique of the Publishing Industry......Page 368 Notes......Page 371 39. The Newspaper......Page 372 Notes......Page 373 1. Cosmic Man [Allmensch]......Page 374 2. Demon......Page 383 3. Monster [Unmensch]......Page 390 Notes......Page 401 41. Reflections on Radio......Page 404 42. Theater and Radio (The Mutual Control of Their Educational Program)......Page 406 Notes......Page 409 43. Conversation with Ernst Schoen......Page 410 Notes......Page 413 44. Two Types of Popularity (Fundamental Reflections on a Radio Play)......Page 416 Notes......Page 418 45. On the Minute......Page 420 Index......Page 424 Credits......Page 438

benjamin’s Famous “work Of Art” Essay Sets Out His Boldest Thoughts—on Media And On Culture In General—in Their Most Realized Form, While Retaining An Edge That Gets Under The Skin Of Everyone Who Reads It. In This Essay The Visual Arts Of The Machine Age Morph Into Literature And Theory And Then Back Again To Images, Gestures, And Thought.

this Essay, However, Is Only The Beginning Of A Vast Collection Of Writings That The Editors Have Assembled To Demonstrate What Was Revolutionary About Benjamin’s Explorations On Media. Long Before Marshall Mcluhan, Benjamin Saw That The Way A Bullet Rips Into Its Victim Is Exactly The Way A Movie Or Pop Song Lodges In The Soul.

this Book Contains The Second, And Most Daring, Of The Four Versions Of The “work Of Art” Essay—the One That Addresses The Utopian Developments Of The Modern Media. The Collection Tracks Benjamin’s Observations On The Media As They Are Revealed In Essays On The Production And Reception Of Art; On Film, Radio, And Photography; And On The Modern Transformations Of Literature And Painting. The Volume Contains Some Of Benjamin’s Best-known Work Alongside Fascinating, Little-known Essays—some Appearing For The First Time In English. In The Context Of His Passionate Engagement With Questions Of Aesthetics, The Scope Of Benjamin’s Media Theory Can Be Fully Appreciated.

george Fetherling - Seven Oaks

a Juicy Selection Of [benjamin's] Many Short Pieces On Pop Culture.

Benjamin's famous "Work of Art" essay sets out his boldest thoughts - on media and on culture in general - in their most realized form, while retaining an edge that gets under the skin of everyone who reads it. In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought. This essay, however, is only the beginning of a vast collection of writings that the editors have assembled to demonstrate what was revolutionary about Benjamin's explorations on media. Long before Marshall McLuhan, Benjamin saw that the way a bullet rips into its victim is exactly the way a movie or pop song lodges in the soul. This book contains the second, and most daring, of the four versions of the "Work of Art" essay - the one that addresses the utopian developments of the modern media. The collection tracks Benjamin's observations on the media as they are revealed in essays on the production and reception of art; on film, radio, and photography; and on the modern transformations of literature and painting. The volume contains some of Benjamin's best-known work alongside fascinating, little-known essays - some appearing for the first time in English. In the context of his passionate engagement with questions of aesthetics, the scope of Benjamin's media theory can be fully appreciated Walter Benjamin's famous “Work of Art” essay sets out his boldest thoughts—on media and on culture in general—in their most realized form, while retaining an edge that gets under the skin of everyone who reads it. In this essay the visual arts of the machine age morph into literature and theory and then back again to images, gestures, and thought.This essay, however, is only the beginning of a vast collection of writings that the editors have assembled to demonstrate what was revolutionary about Benjamin's explorations on media. Long before Marshall McLuhan, Benjamin saw that the way a bullet rips into its victim is exactly the way a movie or pop song lodges in the soul.This book contains the second, and most daring, of the four versions of the “Work of Art” essay—the one that addresses the utopian developments of the modern media. The collection tracks Benjamin's observations on the media as they are revealed in essays on the production and reception of art; on film, radio, and photography; and on the modern transformations of literature and painting. The volume contains some of Benjamin's best-known work alongside fascinating, little-known essays—some appearing for the first time in English. In the context of his passionate engagement with questions of aesthetics, the scope of Benjamin's media theory can be fully appreciated. A series of influential essays on the visual arts that were made possible by machines, and the implications for the future of culture