TAILIEUCHUNG - ROOM-FOR-PLAY: BENJAMIN'S GAMBLE WITH CINEMA

However, some focus group participants also found the use of electronic music “distracting.” Several students who disliked the use of DJ Spooky’s music accompanying Caligari noted being distracted by the modern drum loops and electronic sounds, claiming that they didn’t “suit” the film. Another student anonymously described having seen the film before, and feeling “far more removed from the film” because of the electronic music: “the experiment created an unconscious focus on where the film and the contemporary DJ track ‘synched’ up. Every time the beat/tempo changed accordingly with the action on the screen there was an ‘ooohh!’ from the audience in reaction to the success of the experience.”. | MIRIAM BRATU HANSEN ROOM-FOR-PLAY BENIAMIN S GAMBLE WITH CINEMA The Martin Walsh Memorial Lecture 2005 Resume Dans la deuxième version de son article L oeuvre d art à 1 époque de sa reproduction mécanisée 1936 Walter Benjamin note que I aneantissement de 1 aura OU apparence Schein dans 1 art s accompagne d une augmentation énorme de i espace de jeu Spielraum surtout et grace au cinéma. Cet article examine les nombreuses connotations du terme allemand Spiel chez Benjamin-le jeu d en-fant le jeu deTacteur le jeu de hasard-et étudie sa notion du cinema comme jeu en relation avec sa théorie anthropologique-matérialiste de la technologie. De là découle I importance à la fois esthétique et politique du cínéma en tant que forme de jeu de seconde nature . For Lisa Fittko What is lost in the withering of semblance Schein or decay of the aura i in works of art is matched by a huge gain in room-for-play Spiel-Raum . This space for play is widest in film. Walter Benjamin The Work of Art in the Age of Its Technological ị Reproducibility 1936 I During the past three decades Walter Benjamin s essay The Work of Art in the Age of its Technological Reproducibility may have been more often I quoted than any other single source in areas ranging from new-left media theory s to cultural studies from film and art history to visual culture from the post- I modern art scene to debates on the fate of art including film in the age of the I digital. In the context of these invocations the essay has not always acquired new meanings nor has it become any less problematic than when it was first I CANADIAN JOURNAL OF FILM STUDIES REVUE CANADIENNE D ỄTUDES CINẾMATOGRAPH1QUES VOLUME 13 NO. 1 SPRING PRINTEMPS 1004 pp 2-17 written. Not quite ready to throw in the towel and follow Peter Wollen s suggestion that the essay should be shelved altogether I wish to return to it yet once More precisely rd like to turn to the version of the essay which Benjamin considered his Ur-text that is the .

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