Page 240 - Darko Štrajn, From Walter Benjamin to the End of Cinema: Identities, Illusion and Signification. Ljubljana: Educational Research Institute, 2017. Digital Library, Dissertationes, 29.
P. 240
rajn’s collection of reflections on Benjamin’s complex relationship to mass media
as a technological, social, and political phenomenon provides a rich and provoca-
tive intervention that contributes substantially to the field. The author’s authorita-
tive readings of Benjamin’s work and philosophical legacy shed important new light
on the political role of technologically reproducible art in the age of filter bubbles,
fake news, and social media.
dan hassler forest
Among the wide range of topics, which the author deals with, the insights into the
sphere of cinema and the problems of new media seem most important. Such in-
sights are nowadays especially laudable in the situation of new technological and
– therefore – cultural revolution, when the possibilities of the digital reproduction
radically transformed modes of production, distribution, consumption and also
the modes of reflections especially in the fields of cinema and audio-visual studies.
New reality, which is produced and re-produced by new technologies, of course, de-
mands new ontology. I am convinced that Štrajn’s work represents a big and impor-
tant step into this relatively under-researched direction.
andrej šprah
as a technological, social, and political phenomenon provides a rich and provoca-
tive intervention that contributes substantially to the field. The author’s authorita-
tive readings of Benjamin’s work and philosophical legacy shed important new light
on the political role of technologically reproducible art in the age of filter bubbles,
fake news, and social media.
dan hassler forest
Among the wide range of topics, which the author deals with, the insights into the
sphere of cinema and the problems of new media seem most important. Such in-
sights are nowadays especially laudable in the situation of new technological and
– therefore – cultural revolution, when the possibilities of the digital reproduction
radically transformed modes of production, distribution, consumption and also
the modes of reflections especially in the fields of cinema and audio-visual studies.
New reality, which is produced and re-produced by new technologies, of course, de-
mands new ontology. I am convinced that Štrajn’s work represents a big and impor-
tant step into this relatively under-researched direction.
andrej šprah
