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Walter Benjamin (1892-1940)
The Work of Art in the Age of Mechanical
Reproduction
XIII
The characteristics of the film lie not only
in the manner in which man presents himself to mechanical equipment but
also in the manner in which, by means of this apparatus, man can represent
his environment. A glance at occupational psychology illustrates the testing
capacity of the equipment. Psychoanalysis illustrates it in a different
perspective. The film has enriched our field of perception with methods
which can be illustrated by those of Freudian theory. Fifty years ago,
a slip of the tongue passed more or less unnoticed. Only exceptionally
may such a slip have revealed dimensions of depth in a conversation which
had seemed to be taking its course on the surface. Since the Psychopathology
of Everyday Life things have changed. This book isolated and made analysable
things which had heretofore floated along unnoticed in the broad stream
of perception. For the entire spectrum of optical, and now also acoustical,
perception the film has brought about a similar deepening of apperception.
It is only an obverse of this fact that behaviour items shown in a movie
can be analysed much more precisely and from more points of view than those
presented on paintings or on the stage. As compared with painting, filmed
behaviour lends itself more readily to analysis because of its incomparably
more precise statements of the situation. In comparison with the stage
scene, the filmed behaviour item lends itself more readily to analysis
because it can be isolated more easily. This circumstance derives its chief
importance from its tendency to promote the mutual penetration of art and
science. Actually, of a screened behaviour item which is neatly brought
out in a certain situation, like a muscle of a body, it is difficult to
say which is more fascinating, its artistic value or its value for science
To demonstrate the identity of the artistic and scientific uses of photography
which heretofore usually were separated will be one of the revolutionary
functions of the film.
By close-ups of the things around us, by focusing
on hidden details of familiar objects, by exploring common place milieus
under the ingenious guidance of the camera, the film, on the one hand,
extends our comprehension of the necessities which rule our lives; on the
other hand, it manages to assure us of an immense and unexpected field
of action. Our taverns and our metropolitan streets, our offices and furnished
rooms, our railroad stations and our factories appeared to have us locked
up hopelessly. Then came the film and burst this prison-world asunder by
the dynamite of the tenth of a second, so that now, in the midst of its
far-flung ruins and debris, we calmly and adventurously go travelling.
With the close-up, space expands; with slow motion, movement is extended.
The enlargement of a snapshot does not simply render more precise what
in any case was visible, though unclear: it reveals entirely new structural
formations of the subject. So, too, slow motion not only presents familiar
qualities of movement but reveals in them entirely unknown ones 'which,
far from looking like retarded rapid movements, give the effect of singularly
gliding, floating, supernatural motions.' Evidently a different nature
opens itself to the camera than opens to the naked eye - if only because
an unconsciously penetrated space is substituted for a space consciously
explored by man. Even if one has a general knowledge of the way people
walk, one knows nothing of a person's posture during the fractional second
of a stride. The act of reaching for a lighter or a spoon is familiar routine,
yet we hardly know what really goes on between hand and metal, not to mention
how this fluctuates with our moods. Here the camera intervenes with the
resources of its lowerings and liftings, its interruptions and isolations,
it extensions and accelerations, its enlargements and reductions. The camera
introduces us to unconscious optics as does psychoanalysis to unconscious
impulses. |