The Work of Art in the Age of Mechanical Reproduction

Benjamin states that paintings “invit[e] the spectator to contemplation” (238). In contrast, when watching a film, the spectator’s train of thought is “interrupted by their constant, sudden change” (238). Explain this distinction in your own words. Do you agree with Benjamin’s characterization of how the viewer responds to these two different modes of art? Why or why not?

Benjamin makes frequent allusion to Freudian psychoanalysis, specifically the concept of “identification.” Research this concept as it appears in psychoanalysis. Conduct some research into the concept of “identification” in psychoanalysis. How does Benjamin employ this concept in the essay? Is this consistent with how Freudian theory uses the concept of “identification”?

There are many different forms of “value” identified by Benjamin in the essay. Characterize four of them and describe how they are used in his argument. Does Benjamin seem to prioritize one form of value over another? Would you prioritize these values in the same way?

In Thesis 15, Benjamin lays out how habits of viewing are formed. How does Benjamin describe the development of viewing habits? What does it suggest for how or whether we can form new viewing habits?

There have been major advancements in technology and the production of art since Benjamin wrote this essay. Does his argument about the effect of technology on art and politics still stand, or are there new technologies that offer a counterargument to his thesis? Consider the scale and means of reproduction and distribution with computers and the Internet.

What does Benjamin mean when he writes that “the desire of contemporary masses to bring things ‘closer’ spatially and humanly, which is just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction. Every day the urge grows stronger to get hold of an object at very close range by way of its likeness, its reproduction” (223)? What are some examples of ways people try to “get hold of an object” in contemporary times? What are the results of this impulse?

One could argue that Benjamin is pessimistic about the impacts of photography and film on politics and society. Why do you think he is so negative about these technological advancements? Does he see any political potential in this new technology? Give an example.

Benjamin’s writing style has been critiqued for being so fragmentary, potentially making the argument difficult to follow. Why do you think Benjamin relies on such a fragmentary structure? What is the effect of this format on the reader?