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

2. 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?

3. 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.”

4. A Woodcut

5. 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.

6. The Original

7. 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

8. 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

9. 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

10. 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

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

12. 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

13. 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 My thoughts have been replaced by moving images.”