WalterBenjamin July 31, 2020 at 7:02 am

Thus, with the evolution dastcnicas of reproduction, mainly of the cinema, the aura starts to dissolve-senas some reproductions of the original, dismissing, in this way, the workmanship of artede its status of rarity, for an existence ‘ ‘ serial’ ‘. Olympics has plenty of information regarding this issue. ParBenjamin, from the moment where the workmanship is excluded of meio’ ‘ aristocrtico’ ‘ ‘ ‘ religioso’ ‘ , that they make of workmanship one objetode cultured inaccessible for many, for more close that it is, dissoluoda aura reaches social dimensions. Of this form, the social loss of the aura and asconseqncias are extremely sensible in the cinema, in which areproduo of a work of art ‘ ‘ it loads consigo’ ‘ the possibility deuma ‘ ‘ change qualitativa’ ‘ in the relation of ‘ ‘ massas’ ‘ with aarte. However, Benjamin does not see this process as nostalgic romnticoque searchs the idea of intocada workmanship again. Before, it is treated to find umasada for the survival of the art that has taken in consideration its new situaode being profaned and transformed into merchandise. With the destruction daaura, the art can for the first time be appropriate for the masses, confiding umespao for its democratization and politicalization.

The new expressions do not aurticasdevem to follow the rhythm of the technique since expressions as the cinema formasmais is adapted to describe the constant changes and the character fragmentriodo modern world. ‘ ‘ The imaginary world of the cinema Stops beyond the involving artifices of the film, comes elesamalgamados the imaginary one as part of a break-head, mounting umverdadeiro creative mosaic, is a creative combination of ideas that formamimagens. These images when perceived they help to unchain and to transmit asemoes and the feelings most diverse. Thus it is the cinema. According to WalterBenjamin, the cinema is of ‘ ‘ nature ilusionista’ ‘ , a time that is de’ ‘ second order and is in the result of montagem.

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