{"title":"Mickey Mouse:","authors":"","doi":"10.2307/j.ctvwh8f7d.8","DOIUrl":"https://doi.org/10.2307/j.ctvwh8f7d.8","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127226709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Index","authors":"","doi":"10.2307/j.ctvwh8f7d.11","DOIUrl":"https://doi.org/10.2307/j.ctvwh8f7d.11","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127863358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conclusion: Benjamin’s Belated Aktualität","authors":"Daniel Mourenza","doi":"10.1515/9789048529353-008","DOIUrl":"https://doi.org/10.1515/9789048529353-008","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122274487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mickey Mouse: Utopian and Barbarian","authors":"D. Mourenza","doi":"10.1017/9789048529353.006","DOIUrl":"https://doi.org/10.1017/9789048529353.006","url":null,"abstract":"This chapter explores Walter Benjamin’s writings on Mickey Mouse, focussing especially on the unpublished note ‘Mickey Mouse’ (1931), ‘Experience and Poverty’ (1933), and ‘The Work of Art in the Age of Its Technological Reproducibility’ (1935–1939). These texts are read in conjunction with other essays from the period, such as ‘The Destructive Character’ (1931) and ‘Karl Kraus’ (1931), since Benjamin detected in the anarchic, destructive, and technologically driven figure of the early Mickey Mouse a similar project to overcome bourgeois civilization and, especially, the individual subjectivity upon which humanism was based. The chapter also draws on some references to Disney films as dream images in the Arcades Project (1928–1940).","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131668149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Conclusion:","authors":"","doi":"10.2307/j.ctvwh8f7d.9","DOIUrl":"https://doi.org/10.2307/j.ctvwh8f7d.9","url":null,"abstract":"","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123956357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Soviet Film:","authors":"L. Nanney","doi":"10.2307/j.ctvk12qw8.8","DOIUrl":"https://doi.org/10.2307/j.ctvk12qw8.8","url":null,"abstract":"Dos Passos’s adaptation of cinematic methods to literary style beginning in the mid-1920s emerged further in his work after he visited Russia in 1928. Tepid public and critical response to New Playwrights dramas motivated Dos Passos to explore how the revolutionary state-supported Russian theater and film productions had engaged the masses, united them politically, and produced groundbreaking artists. In dramatist Meyerhold’s avant-garde theater, Constructivist industrial sets and “biomechanical” acting techniques created successful dramas about and for workers. Dos Passos observed that cinematic innovations emerged from the Soviet-controlled studios despite the state’s use of film as its primary tool of mass ideological education. Though Lenin, then Stalin increasingly controlled film productions and artists, Soviet filmmakers nonetheless evolved theories of montage that became foundational in filmmaking and informed Dos Passos’s modernist novels and his 1936 independent film treatment “Dreamfactory,” with its meta-filmic exposé of the Hollywood film industry. In particular, these works registered the formal and conceptual innovations of two directors: Eisenstein, whose films combined fiction and history to effect political action through art; and Vertov, whose films acknowledged the artist’s vision as controlling the camera “eye” and who embedded in one short film an auto-critique of movie-making.","PeriodicalId":248788,"journal":{"name":"Walter Benjamin and the Aesthetics of Film","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131510844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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