Walter Benjamin, "The Work of Art in the Age of
Mechanical Reproduction" (1935):
"By close-ups of the things around us, by focusing
on hidden details of familiar objects, by exploring commonplace milieus
under the ingenious guidance of the camera, the film, on the one hand,
extends or 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 traveling.
With the close-up, space expands; with slow motion, movement is extended.
The enlargements of a snapshot does not simply render more precise what
in any case was visible, though unclear: it reveals in them 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. . . . . The camera introduces
us to unconscious optics as does psychoanalysis to unconscious impulses."
(236-7)
Go to Top
|