By Walter Benjamin
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Extra info for Aura e choc. Saggi sulla teoria dei media
Russell, New Media and Film History: Walter Benjamin anà the Awakening of Cinema, in «Cinema Journal», XLIII (2004), n. 3, pp. 81-85; R. Bohn, Sendungsbewusstsein: Walter Benjamin und sein Medium, Könighausen & Neumann, Würzburg 2005; F. Casetti, L’occhio del Novecento. Cinema, esperienza, modernità, Bompiani, Milano 2005; M. Jay, Songs of Experience: Modem American and European Variations on a Universal Theme, University of California Press, Berkeley - Los Angeles - London 2005 (su Benjamin il cap.
Cinema, dunque, come dispositivo a cui spetta un ruolo di capofila nel tentativo di trasformare la relazione tra l’uomo e la natura mediata dalla tecnica in una relazione capace di generare un incremento dello «spazio di gioco» e non un suo soffocamento. Come Apparat all’interno del quale si muove un attore che, confrontandosi con gli strumenti di ripresa e con una «commissione di esperti» che considera la sua recitazione come una forma di prestazione da sottoporre a «test», appare sullo schermo come il rappresentante di un’umanità costretta a confrontarsi quotidianamente con un numero sempre crescente di «apparati», e che chiede di essere vendicata da qualcuno capace di mettere la tecnologia al proprio servizio65.
605-53; scritto fra la fine di febbraio e la fine di luglio del 1939; pubblicato sulla «Zeitschrift für Sozialforschung», 1939, n. 8, pp. 50-89. Sezione IV Novità sui fiori: OC III, pp. 174-76; Neues von Blumen: GS III, pp. 151-53; WN XIII, pp. 164-67; scritto nel 1928; pubblicato su «Die literarische Welt», IV, 23 novembre 1928, n. 47, p. 7. Piccola storia della fotografia: OC IV, pp. 476-91; Kleine Geschichte der Photographie: GS II/1, pp. 368-85; scritto nel 1931; pubblicato in tre puntate su «Die literarische Welt», 19 settembre 1931, n.