The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media
Abstract
* A Note on the Texts * Editors' Introduction I. The Production, Reproduction, and Reception of the Work of Art * The Work of Art in the Age of Its Technological Reproducibility: Second Version * Theory of Distraction * To the Planetarium * Garlanded Entrance * The Rigorous Study of Art * Imperial Panorama * The Telephone * The Author as Producer * Paris, the Capital of the Nineteenth Century * Eduard Fuchs, Collector and Historian * Review of Sternberger's Panorama II. Script, Image, Script-Image * Attested Auditor of Books * This Space for Rent * The Antinomies of Allegorical Exegesis * The Ruin * Dismemberment of Language * Graphology Old and New III. Painting and Graphics * Painting and the Graphic Arts * On Painting, or Sign and Mark * A Glimpse into the World of Children's Books * Dream Kitsch * Moonlit Nights on the Rue La Boetie * Chambermaids' Romances of the Past Century * Antoine Wiertz: Thoughts and Visions of a Severed Head * Some Remarks on Folk Art * Chinese Paintings at the Bibliotheque Nationale IV. Photography * News about Flowers * Little History of Photography * Letter from Paris (2): Painting and Photography * Review of Freund's Photographie en France au dix-neuvieme siecle V. Film * On the Present Situation of Russian Film * Reply to Oscar A. H. Schmitz * Chaplin * Chaplin in Retrospect * Mickey Mouse * The Formula in Which the Dialectical Structure of Film Finds Expression VI. The Publishing Industry and Radio * Journalism * A Critique of the Publishing Industry * The Newspaper * Karl Kraus * Reflections on Radio * Theater and Radio * Conversation with Ernst Schoen * Two Types of Popularity: Fundamental Reflections on a Radio Play * On the Minute * Index
Integrity signals
Registry
Cites
Statistics
Claims the paper makes
Claims other papers make about this one
Each is checked against this paper’s own text: does it say what the citing paper says it does?
Benjamin proposes that the decaying of an aura results, in part, from the technological capacity of reproducing images through mass media like photography and film.
“Benjamin continues to propose that the decaying of an aura results, in part, from the technological capacity of reproducing images through mass media like photography and film.”
From “Money and Chandeliers”: Mass Circuits of Pilgrimage to Coptic Egypt (2013) · cites this paper as Benjamin 2008 [1936]
Walter Benjamin defines aura as 'a strange tissue of space and time: the unique apparition of a distance, however near it may be'.
“In his famous essay ' The Work of Art in the Age of Its Technological Reproducibility, ' Walter Benjamin approaches the experience of an aura: ' What, then, is the aura? A strange tissue of space and time: the unique apparition of a distance, however near it may be ' (2008 [1936]: 23).”
From “Money and Chandeliers”: Mass Circuits of Pilgrimage to Coptic Egypt (2013) · cites this paper as Benjamin 2008 [1936]
As a version of capitalist commodification, the aesthetic forms of mass mediation force the retreat, to the point of erasure, of the auratic imaginary.
“As a version of capitalist commodification, the aesthetic forms of mass mediation thereby force the retreat, to the point of erasure, of the auratic imaginary.”
From “Money and Chandeliers”: Mass Circuits of Pilgrimage to Coptic Egypt (2013) · cites this paper as Benjamin 2008 [1936]
Mass reproducibility re-structures the human sensorium, creating new forms of experience and memory, alienation, and distraction.
“By introducing an industrially altered environment of imagemaking, mass reproducibility re-structures the human sensorium, thus creating new forms of experience and memory, alienation, and distraction.”
From “Money and Chandeliers”: Mass Circuits of Pilgrimage to Coptic Egypt (2013) · cites this paper as Benjamin 2008 [1936]
Cited by
Sorted by citations
Kerner, C., & Risse, M. (2021) · Moral Philosophy and Politics · doi:10.1515/mopp-2020-0024 · Cited by 75 · see citing works
“Money and Chandeliers”: Mass Circuits of Pilgrimage to Coptic Egypt
Heo, A. (2013) · Journal of the American Academy of Religion · doi:10.1093/jaarel/lft018 · Cited by 19 · see citing works
- Authors
- BENJAMIN, W.
- Corresponding author
- BENJAMIN, WALTER
- ORCID
- BENJAMIN, WALTER
- Venue
- Harvard University Press eBooks
- Publisher
- Harvard University Press
- Published
- 2008-05-31
- OpenAlex
- W2012859321
- Cited by
- 1,124
- References
- 0
- Citations by year
- 2026: 68 · 2025: 93 · 2024: 45 · 2023: 104 · 2022: 49 · 2021: 66 · 2020: 87 · 2019: 102 · 2018: 72 · 2017: 98 · 2016: 47 · 2015: 50 · 2014: 91 · 2013: 32 · 2012: 43
- FWCI
- 141.10
- Type
- book
- Language
- en
- Open access
- closed
- Locations
- Harvard University Press eBooks (publishedVersion)
- Topics
- Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Visual Culture and Art Theory
- Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Art, Aesthetics, and Perception
- Social Sciences › Arts and Humanities › Visual Arts and Performing Arts › Cinema History and Criticism
- Keywords
- Walter Benjamin, technological reproducibility, panorama, allegorical exegesis, handwriting analysis, children's literature, folk art, Chinese painting, photography, Russian cinema, Charlie Chaplin, Mickey Mouse, publishing industry, radio, Karl Kraus, newspapers, radio drama, art reception
About these checks
Registry, retraction, Cites and statistics results are computed, not judged, with one exception: a printed reference that no index lists is read once by a model before it counts as a citation error. Claims are extracted by a model and kept only when their quote appears verbatim in the text; each cited source is then checked, with a model’s help, for whether it says what the claim relies on. Those verdicts can be wrong — read the claim’s quote and the cited source before relying on one.
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