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Miriam Hansen

Cinema and Experience

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Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno—affiliated through friendship, professional ties, and argument—developed an astute philosophical critique of modernity in which technological media played a key role. This book explores in depth their reflections on cinema and photography from the Weimar period up to the 1960s. Miriam Bratu Hansen brings to life an impressive archive of known and, in the case of Kracauer, less known materials and reveals surprising perspectives on canonic texts, including Benjamin’s artwork essay. Her lucid analysis extrapolates from these writings the contours of a theory of cinema and experience that speaks to questions being posed anew as moving image culture evolves in response to digital technology.
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Citaten

  • Romaciteerde uit3 jaar geleden
    Adorno was one of the few critics to insist that one couldn’t speak of one without the other.
  • Romaciteerde uit3 jaar geleden
    the authors excoriated the culture industry as a system of secondary exploitation, domination, and integration by which advanced capitalism subordinates any cultural practice, low or high, to a single purpose: to reproduce the spectator/listener as consumer.
  • Romaciteerde uit4 jaar geleden
    Position A welcomes the then-new media—photography, film, gramophone, radio— because they promote the “liquidation” of the cultural heritage, of bourgeois-humanist notions of art, education (Bildung), and experience that have proved bankrupt in, if not complicit with, the military catastrophe and the economic one that followed—at any rate inadequate to the social and political reality of the masses after the failed revolution of 1919

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