Pub Date : 2020-12-31DOI: 10.1515/9789048529353-003
{"title":"1. Anthropological Materialism and the Aesthetics of Film","authors":"","doi":"10.1515/9789048529353-003","DOIUrl":"https://doi.org/10.1515/9789048529353-003","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133780896","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9789048529353-010
{"title":"Index","authors":"","doi":"10.1515/9789048529353-010","DOIUrl":"https://doi.org/10.1515/9789048529353-010","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124701694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9789048529353-007
{"title":"5. Mickey Mouse: Utopian and Barbarian","authors":"","doi":"10.1515/9789048529353-007","DOIUrl":"https://doi.org/10.1515/9789048529353-007","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126622538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9789048529353-005
{"title":"3. Film and the Aesthetics of German Fascism","authors":"","doi":"10.1515/9789048529353-005","DOIUrl":"https://doi.org/10.1515/9789048529353-005","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125110295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-31DOI: 10.1515/9789048529353-fm
{"title":"Frontmatter","authors":"","doi":"10.1515/9789048529353-fm","DOIUrl":"https://doi.org/10.1515/9789048529353-fm","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123207006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back Matter","authors":"","doi":"10.2307/j.ctvwh8f7d.12","DOIUrl":"https://doi.org/10.2307/j.ctvwh8f7d.12","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130013663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-21DOI: 10.1515/9789048529353-006
D. Mourenza
This chapter addresses Walter Benjamin’s writings on Charlie Chaplin as a project to rehabilitate allegory in the 20th century. This project is evaluated in connection with Kafka and Brecht, since Benjamin approached all of these figures through the concept of Gestus. Benjamin discerned in film the prospect of undoing the numbing of the senses, which had become deadened as a consequence of the shock experience of modern life. In connection with Kafka and Brecht, this chapter analyses Chaplin as a paradigmatic cinematic figure to counteract the alienation of human beings in a technologically saturated modernity through his gestic and allegorical performance.
{"title":"4. Charlie Chaplin: The Return of the Allegorical Mode in Modernity","authors":"D. Mourenza","doi":"10.1515/9789048529353-006","DOIUrl":"https://doi.org/10.1515/9789048529353-006","url":null,"abstract":"This chapter addresses Walter Benjamin’s writings on Charlie Chaplin as a project to rehabilitate allegory in the 20th century. This project is evaluated in connection with Kafka and Brecht, since Benjamin approached all of these figures through the concept of Gestus. Benjamin discerned in film the prospect of undoing the numbing of the senses, which had become deadened as a consequence of the shock experience of modern life. In connection with Kafka and Brecht, this chapter analyses Chaplin as a paradigmatic cinematic figure to counteract the alienation of human beings in a technologically saturated modernity through his gestic and allegorical performance.","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126417770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter analyses Benjamin’s writings on German film. Through an analysis of ‘Theories of German Fascism’ (1930), it assesses to what extent the failed reception of technology in Germany had an impact on cinema. Drawing from Benjamin’s remarks on the masses, the chapter analyses the film Metropolis (dir. Fritz Lang, 1927) as an example of the ‘architectonic quality’ that Benjamin detected in UFA productions during the Weimar Republic. The films by Leni Riefenstahl are analysed as an illustration of the corrupted representation of the masses performed by National Socialism. Finally, the chapter interprets the aestheticization of politics promoted by fascism from the point of view of Benjamin’s reconfiguration of aesthetics and the relationship between the historically constructed human nature and technology.
{"title":"Film and the Aesthetics of German Fascism","authors":"D. Mourenza","doi":"10.2307/j.ctvwh8f7d.6","DOIUrl":"https://doi.org/10.2307/j.ctvwh8f7d.6","url":null,"abstract":"This chapter analyses Benjamin’s writings on German film. Through an analysis of ‘Theories of German Fascism’ (1930), it assesses to what extent the failed reception of technology in Germany had an impact on cinema. Drawing from Benjamin’s remarks on the masses, the chapter analyses the film Metropolis (dir. Fritz Lang, 1927) as an example of the ‘architectonic quality’ that Benjamin detected in UFA productions during the Weimar Republic. The films by Leni Riefenstahl are analysed as an illustration of the corrupted representation of the masses performed by National Socialism. Finally, the chapter interprets the aestheticization of politics promoted by fascism from the point of view of Benjamin’s reconfiguration of aesthetics and the relationship between the historically constructed human nature and technology.","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127693451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-02-21DOI: 10.1515/9789048529353-004
D. Mourenza
This chapter analyses the two articles on Soviet film that Walter Benjamin wrote after his stay in Moscow: ‘On the Present Situation of Russian Film’ (1927) and ‘Reply to Oscar A. H. Schmitz’ (1927). These early texts on film are discussed in connection with ‘The Author as Producer’ (1934) and ‘The Work of Art in the Age of Its Technological Reproducibility’ (1935–1939), for they anticipate the debate about film and the politicization of art discussed in the latter texts. This chapter also discusses Benjamin’s insights about the use and conception of technology in the Soviet Union, the different political groupings in the Soviet art scene, and his position in these debates.
{"title":"2. Soviet Film: The Giant Laboratory of Technological Innervation","authors":"D. Mourenza","doi":"10.1515/9789048529353-004","DOIUrl":"https://doi.org/10.1515/9789048529353-004","url":null,"abstract":"This chapter analyses the two articles on Soviet film that Walter Benjamin wrote after his stay in Moscow: ‘On the Present Situation of Russian Film’ (1927) and ‘Reply to Oscar A. H. Schmitz’ (1927). These early texts on film are discussed in connection with ‘The Author as Producer’ (1934) and ‘The Work of Art in the Age of Its Technological Reproducibility’ (1935–1939), for they anticipate the debate about film and the politicization of art discussed in the latter texts. This chapter also discusses Benjamin’s insights about the use and conception of technology in the Soviet Union, the different political groupings in the Soviet art scene, and his position in these debates.","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134241848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This chapter contextualizes Walter Benjamin’s film writings in relation to his concept of ‘anthropological materialism’. It argues that some concepts that are central to his writings on film, such as ‘collective body’, ‘second technology’, ‘innervation’, ‘second nature’, and ‘optical unconscious’ should be understood in relation to Benjamin’s particular conception of the body and the transformation of the human sensorium, made possible by the new paradigm of reception opened up by film’s technological nature. For Benjamin, this chapter argues, cinemas are conceived as exemplary training grounds to create a collective body through the innervation of the energy coming from the screen into the audience.
{"title":"Anthropological Materialism and the Aesthetics of Film","authors":"D. Mourenza","doi":"10.2307/j.ctvwh8f7d.4","DOIUrl":"https://doi.org/10.2307/j.ctvwh8f7d.4","url":null,"abstract":"This chapter contextualizes Walter Benjamin’s film writings in relation to his concept of ‘anthropological materialism’. It argues that some concepts that are central to his writings on film, such as ‘collective body’, ‘second technology’, ‘innervation’, ‘second nature’, and ‘optical unconscious’ should be understood in relation to Benjamin’s particular conception of the body and the transformation of the human sensorium, made possible by the new paradigm of reception opened up by film’s technological nature. For Benjamin, this chapter argues, cinemas are conceived as exemplary training grounds to create a collective body through the innervation of the energy coming from the screen into the audience.","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133603061","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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