Sources

·         Meenakshi Gigi Durham, Douglas M. Keller (2006). Media and cultural studies KeyWorks. Oxford: Blackwell.

·         Robin Ridless (1984). Theories of Mass Culture from Walter Benjamin to Umberto Eco. Contributors: New York. Peter Lang.

·         http://frankfurtschool.wordpress.com/2008/02/28/summary-the-work-of-art-in-the-age-of-mechanical-reproduction/

·         http://design.wishiewashie.com/HT5/WalterBenjaminTheWorkofArt.pdf

Walter Benjamin and Mass Culture

A main concept within Benjamin’s writing, and what he ultimately asks, is ‘which art expresses and promotes a revolutionary working class consciousness and which obscures the fundamental nature of class and property relations in modern industrial society?’ (Ridless; Ideology and Art: 7). Benjamin’s view is that the development of film expresses revolutionary ideas of a mass society and how traditional art promotes the class system. Having what appeared to be Marxist views, Benjamin clearly thought that new technological art, such as film, would ultimately lead to a classless society.

Originally art was meant to be, what Benjamin defined as, a ‘ritual’ – which is true, art did used to be for religious or sacred purposes, however now, he states ‘instead of being based on ritual, it begins to be based on… politics’(media and cultural studies keyworks: 23).  The understanding I gain from this is that now, technology brings the public closer to politics, and this idea is supported by Duhram and Keller who write, ‘…mechanical reproduction applies to politics as well. The present crisis of the bourgeois democracies comprises a crises of the conditions which determine the public presentation of the rulers’(media and cultural studies keyworks: 38). Modern public awareness of the presentation of their leaders is all over the news, television, and even film; more than ever we are aware how we’re being treated.

Walter Benjamin’s work has influenced recent media studies in respect to the fact his ideas, however unnoticed at the time, held a lot truth. During self-reflection, I’ve become aware that there has been a merge of culture, on a mass scale, and this is due to technology. Duhamel and Kellner write; ‘Mass movements… constitute a form of human behaviour which particularly favours mechanical equipment’, and if this is true, our growing dependence on technology will ultimately lead to a mass culture – a connected world.

Walter Benjamin and Society's Submission.

What may be viewed again, as previously mentioned in an earlier blog, as being slightly prophetic, Walter Benjamin acknowledges Duhamel’s statement that, in reference to film, it’s simply ‘a diversion’. Benjamin picks up on the slightly manipulative side of film, suggesting that the ‘equipment free aspect of reality… has become the height of the artifice’(media and cultural studies keyworks: 28). He uses an analogy of camera man versus painter to describe how engrossing film can be; ‘the painter maintains in his work a natural distance from reality, the cameraman penetrates deeply into its web’(media and cultural studies keyworks: 29). Unlike a painting, which is simply an image, of which you can focus on, film is constantly changing. He states that ‘No sooner has his eye grasped a scene than it is already changed’ (media and cultural studies keyworks: 32). This psychological point, really does highlights the difference between traditional art and technological art. Technological art forces the audience, not to think for themselves, but follow and submit to the artificial world they’re watching.

While in discussion with others, we thought that psychological submission would perhaps account for society’s submission to a celebrity culture; more and more people want fame, and attempt to get it through any medium they can. Benjamin acknowledges this, stating that Duhamel once said, in reference to film, it ‘awakens no hope other than the ridiculous one of someday becoming a “star”’ (media and cultural studies keyworks: 28).

Walter Benjamin and Films Effect on Society

Walter Benjamin reflects on the idea that ‘the greater the decrease in the social significance of an art form, the sha­­rper the distinction between criticism and enjoyment by the public’(media and cultural studies keyworks: 29). Benjamin touches upon the idea that if the ‘‘social significance’’ of an art form declines, then ultimately it would lead to what he terms a, progressive attitude towards art, or more modernly termed as popular culture. This is prophetic, in the sense that, especially within the western world, culture has almost merged; although cultures do show their own individuality within art, trends start quickly and through technology connect separate cultures to become a mass, especially within the entertainment industry, such as film.

In the fifth section of The Work of Art in the Age of Mechanical Reproduction, he writes that ‘the film industry is trying hard to spur the interest of the masses through illusion promoting spectacle’(media and cultural studies keyworks: 28), and this resonates within today’s society too; blockbuster movies are about creating a fantasy world, be it horror or action and this is perhaps why on a mass scale film is enjoyed in its many stereotypical genres. Benjamin’s idea was that of we are suseptable, or open to the media, at its most influential and absorbing, then eventually society would become more forgiving of social taboo because they’d be used to seeing it in the artificial world of film; and this is true. Society is far more lenient now than at the time of publication.

Walter Benjamin and The Quality of Art

Walter Benjamin reflects upon the quality of art in The work of Art in the Age of Mechanical Reproduction. What’s considered to be art has gradually become of less importance and that ‘quality has been transmuted into quantity’ (media and cultural studies keyworks: 28). He writes that there’s been a ‘liquidation of the traditional value of cultural heritage’(media and cultural studies keyworks: 21), and uses the reproduction of Shakespeare’s plays to film, as an example. He also mentions that, because the media has become so accessible, almost anyone can contribute to it, and that lessens the value of ‘art’ within it. Walter Benjamin makes a distinction between how art has a function to either be admired (containing it’s aura) and send a message or to be exhibited and sold; ‘works of art are received and valued on two different planes… the accent is on cult value, with the other, on the exhibition value of the work’(media and cultural studies keyworks: 23). Benjamin speaks of an ‘aura’ that art has, and as art becomes less, as he calls it, ‘mystifying’, and slightly more ordinary, it loses its essence as art.

He also references Aldous Huxley’s statement that, ‘advances in technology have led… to vulgarity… Rotary press have made it possible the indefinite multiplication on writing and pictures… Now artistic talent is a rare phenomenon’ (media and cultural studies keyworks: 38). This brings me back to Benjamin’s point of quality, he writes ‘Literary license is now founded on polytechnic rather than specialized training’ (media and cultural studies keyworks: 28).  Many are trying to get something out of the media, and publish what they can to get noticed. Individual thought leads me to consider if this is true; the internet would be the biggest supporter of this idea, though writing a blog would not be considered art, there must be a lot of pointless information, even within the media, floating around.

An Introduction to Walter Benjamin

The works of Walter Benjamin varied amongst that of literary essays, historical writings and cultural criticism. His early studies were on that of aesthetic theory and later gained an interest in political movements. His first writings were mainly focussed on literary critique, one of many being The Origin of German Tragic Drama (1928). Writing for newspapers soon after, his involvement in the media was again, that of a literary critic. However his work then became influenced by political interest, developing Marxist and revolutionary views. During WWII, Benjamin wrote two of his most influential pieces of work, The Author as Producer (1934) and The Work of Art in an Age of Mechanical Reproduction (1936), which looked at the influence of mass production on various mediums, such as film. The latter is perhaps his most relevant work to media study today, and explores how culture has become lessened by the mass media; in which politics and aesthetics almost merge and art becomes accessible to the mass market. Within mostly individual reflection, as group work was not best suited to us as individuals, this is the text on which most of the attention has been focussed.

His background was one of struggle; being a Germanic Jew during Hitler’s reign in Germany, his life was constantly under threat, and therefore he travelled Europe in order to escape. Following 1925, he spent some years in Paris; here, he started The Arcades Project; an unfinished cultural study of early to mid-19’th century, Parisian life. Living during a time of great historical change, this also influenced his work; his Theses on the Philosophy of History (1940), explores how history is dependent on who it’s made by, and often the recognition of the victim’s suffering is avoided. The suffering of Benjamin’s own life is highlighted by his suicide in 1940; possible capture by the Nazi’s led him to take an overdose. His works gained recognition after his death and are still cause thought to study, both philosophically and within the media.