The Work of Art in the Age of Mechanical Reproduction Walter Benjamin 1935

Benjamin’s Central Question: Under Industrial conditions of media production and reproduction, how has art developed, and how has it been affected by those conditions?

Brief History of Reproduction Historically, opportunities for reproducing art were limited (terra cottas, coins, woodcuts). Late 19th/early 20th centuries: photography was developed. “Around 1900, technical reproduction captured its own place among artistic processes.”

A Woodcut

Effects of Mechanical Reproduction The original Importance of uniqueness, as a Prerequisite to authenticity and aura The copy Reproduction and worth depend on existence of the original.

The Original

What Mechanical Reproduction Can Do Capture images that escape natural vision (photography) Put copies of original in situations out of reach of the original itself Produce copies more independent of the original Depreciate the value of the original

The Loss of “Aura” Characteristics of “Aura”: Domain of tradition With mechanical reproduction…. Copy is detached from domain of tradition and its originary aura. Unique existence (Shroud of Turin) Tied to physical presence

Detaching Reproduction From Original Means we’re attached to a likeness Destroys the “aura” of the original Increases the sense of the universal equality of things

The Past and the Present Art as embedded in tradition Aura, uniqueness Mechanically reproduced art Emancipated from ritual Criterion of authenticity does not apply Art is then based more on politics. In service of ritual or theology Ritual is the basis of its original use value

Cult Value vs. Exhibition Value Madonnas Exhibition Value Madonna (artistic function incidental)

Painting vs. Film Painting Representation is a stand-alone totality Painting cannot present an object for collective experience Paining invites the spectator to contemplation Film Lends itself readily to analysis Everyone becomes a critic Overrides contemplation; viewer caught up in watching, tracking what s/he sees

Duhamel said: “I can no longer think what I want to think Duhamel said: “I can no longer think what I want to think. My thoughts have been replaced by moving images.”