work of art in the age of its technological reproducibility

Firstly, technological reproduction often emphasizes aspects of works of art which might not otherwise be accessible to the human senses (such as the finer details of an architecture captured in a photograph). Yet it is different from replicas made with hand, which are usually considered as counterfeit copies. The second is the process of technological reproduction itself as a work of art, such as the art of film (21).īenjamin explains that the technological modes of reproduction obliterates the mark of authenticity from the work of art. The first is the reproduction of any form of art using modern technological mechanisms (like photography) which profoundly affects the authenticity of the original work of art. Benjamin identified two major manifestations of the technological reproduction of art. But the technological reproduction of art is something new and different (20). These are the very concepts which if applied in an unrestrained manner may leave factual material susceptible to manipulation by fascism (20).īenjamin admits that the work of art has always been reproducible. The new theses of art would render fascism dysfunctional because it would diminish the importance of creativity and genius, eternal value and mystery, concepts traditionally associated with the work of art. Benjamin feels that the change in the mode of production demands the formulation of new theses which would outline the propensities behind the creation of art in the transformed economic environment. He writes that according to Marx capitalism would not only cause ruthless exploitation of the proletariat, it would also lead to the generation of conditions which would ultimately cause its own destruction.

The fact that Benjamin persistently reworked the essay indicates that he was constantly analysing and re-analysing the political potential of contemporary art forms.īenjamin begins the essay with Marx’s prognostications about capitalism. He worked on the essay from 1935 to 1939 and produced three versions. Therefore, it is only inevitable that as a response to the political turmoil he experienced and suffered, he would envision the work of art in his ongoing projects as an active political instrument. Benjamin was deeply affected by the extremely politically tumultuous situation in France. Walter Benjamin wrote “The Work of Art in the Age of its Technological Reproducibility” during his years of exile in France from Nazi Germany.

Work of art in the age of its technological reproducibility