Benjamin and Cinema: Not a One-Way Street
1999; University of Chicago Press; Volume: 25; Issue: 2 Linguagem: Inglês
10.1086/448922
ISSN1539-7858
Autores Tópico(s)Literature, Culture, and Aesthetics
ResumoPrevious articleNext article No AccessBenjamin and Cinema: Not a One-Way StreetMiriam Bratu HansenMiriam Bratu Hansen Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 25, Number 2Winter, 1999"Angelus Novus": Perspectives on Walter Benjamin Article DOIhttps://doi.org/10.1086/448922 Views: 66Total views on this site Citations: 111Citations are reported from Crossref Copyright 1999 The University of ChicagoPDF download Crossref reports the following articles citing this article:Olivier Taïeb Le bouleversement de la perception dans la modernité : Au-delà du principe de plaisir, l’armature théorique de l’essai sur Baudelaire de Walter Benjamin, L'Évolution Psychiatrique 101 (Jun 2022).https://doi.org/10.1016/j.evopsy.2022.02.007Kornelia Boczkowska Do gender, genre and the gaze still matter? Toward a feminine road movie in women’s experimental film, Feminist Media Studies 23 (Nov 2021): 1–16.https://doi.org/10.1080/14680777.2021.2004194Jacqueline Ristola Espacios de imágenes del anime: Walter Benjamin y las políticas del consumo, Con A de animación , no.1212 (Mar 2021): 94.https://doi.org/10.4995/caa.2021.15086Sarah Durcan Memory and Intermediality, (Oct 2020): 17–49.https://doi.org/10.1007/978-3-030-47396-9_2Helene Strauss Energy archives: of rocks, rubbish, and feminist feeling in Aliki Saragas’s Strike a Rock, Subjectivity 13, no.44 (Oct 2020): 254–280.https://doi.org/10.1057/s41286-020-00107-8 After the End of Art, (Jan 2020): 30–52.https://doi.org/10.4018/978-1-7998-3835-7.ch002Helene Strauss Affective return: anachronistic feeling and contemporary South African documentary form, Social Dynamics 45, no.22 (Jul 2019): 218–233.https://doi.org/10.1080/02533952.2019.1619295Matthew Levay Violent Minds, 25 (Dec 2018).https://doi.org/10.1017/9781108553698Katja Rothe On the Magic of the Scene. Martha Muchow’s Scenographies, (Mar 2019): 59–74.https://doi.org/10.1007/978-3-658-12906-4_5Matthew Charles Secret Signals from Another World, New German Critique 45, no.33 (Nov 2018): 39–72.https://doi.org/10.1215/0094033X-6977791Víctor-M Marí-Sáez, Gonzalo Ceballos-Castro Opening the Black Box of Citations: A Qualitative Analysis on the Basis of the Taxonomy of Erikson and Erlandson, Communication Theory 78 (Oct 2018).https://doi.org/10.1093/ct/qty027 Prologue, (Mar 2018): 1–9.https://doi.org/10.1215/9780822372004-001 Introduction to Archiveology, (Mar 2018): 11–34.https://doi.org/10.1215/9780822372004-002 Walter Benjamin and the Language of the Moving Image Archive, (Mar 2018): 35–54.https://doi.org/10.1215/9780822372004-003 The Cityscape in Pieces, (Mar 2018): 55–96.https://doi.org/10.1215/9780822372004-004 Collecting Images, (Mar 2018): 97–140.https://doi.org/10.1215/9780822372004-005 Phantasmagoria and Critical Cinephilia, (Mar 2018): 141–183.https://doi.org/10.1215/9780822372004-006 Awakening from the Gendered Archive, (Mar 2018): 184–217.https://doi.org/10.1215/9780822372004-007 Epilogue, (Mar 2018): 219–224.https://doi.org/10.1215/9780822372004-008 Notes, (Mar 2018): 225–244.https://doi.org/10.1215/9780822372004-009 Selected Filmography, (Mar 2018): 245–246.https://doi.org/10.1215/9780822372004-010 Bibliography, (Mar 2018): 247–259.https://doi.org/10.1215/9780822372004-011Katja Rothe Zur Magie der Szene, (Nov 2017): 65–79.https://doi.org/10.1007/978-3-658-19208-2_5Evelyn Shih Doubled Over 007: “Aryu Pondŭ” and Genre-Mixing Comedy in Korea, Journal of Korean Studies 22, no.22 (Sep 2017): 365–388.https://doi.org/10.1215/21581665-4226487Bernard Dionysius Geoghegan The Family as Machine: Film, Infrastructure, and Cybernetic Kinship in Suburban America, Grey Room 66 (Jan 2017): 70–101.https://doi.org/10.1162/GREY_a_00212Irving Wohlfarth Spielraum, Anthropology & Materialism , no.33 (Aug 2016).https://doi.org/10.4000/am.633Nilo Fernando Couret Luis Sandrini’s Stutter, Early Argentine Film Comedy, and the Representability of Time, (Jan 2016): 29–46.https://doi.org/10.1007/978-1-137-54357-8_2Victoria Hesford On Not Being Women: The 1970s, Mass Culture, and Feminism, South Atlantic Quarterly 114, no.44 (Oct 2015): 713–734.https://doi.org/10.1215/00382876-3157100Adam Lauder “Celebration of the Body”: Marshall McLuhan and the Sensory Conceptualism of the N.E. 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Ltd., Canadian Journal of Communication 40, no.33 (Aug 2015): 447–470.https://doi.org/10.22230/cjc.2015v40n3a2911Anna Gibbs MIMESIS AS A MODE OF KNOWING, Angelaki 20, no.33 (Jul 2015): 43–54.https://doi.org/10.1080/0969725X.2015.1065121Ingrid Ryberg Carnal fantasizing: embodied spectatorship of queer, feminist and lesbian pornography, Porn Studies 2, no.2-32-3 (Sep 2015): 161–173.https://doi.org/10.1080/23268743.2015.1059012Donna Landry Horse-Human Companionship: Creaturely Cosmopolitanism across Eurasia, (Jan 2015): 181–193.https://doi.org/10.1057/9781137376282_13Anne Rutherford Space, Body and Montage in the Hybrid Installation Work of William Kentridge, Animation 9, no.11 (Mar 2014): 81–101.https://doi.org/10.1177/1746847713517194Bhaskar Sarkar Metafiguring Bollywood: Brecht after Om Shanti Om, (Jan 2013): 205–235.https://doi.org/10.1057/9781137349781_11 Introduction, (Jan 2013): 1–14.https://doi.org/10.1215/9780822399667-001 Lighting and Capitalist-Industrial Modernity, (Jan 2013): 15–66.https://doi.org/10.1215/9780822399667-002 Flashes of the Sword and the Star, (Jan 2013): 67–118.https://doi.org/10.1215/9780822399667-003 Street Films, (Jan 2013): 119–171.https://doi.org/10.1215/9780822399667-004 The Aesthetics of Shadow, (Jan 2013): 173–254.https://doi.org/10.1215/9780822399667-005 Conclusion, (Jan 2013): 255–281.https://doi.org/10.1215/9780822399667-006 Notes, (Jan 2013): 283–328.https://doi.org/10.1215/9780822399667-007 Bibliography, (Jan 2013): 329–364.https://doi.org/10.1215/9780822399667-008Zahid R. Chaudhary Subjects in Difference: Walter Benjamin, Frantz Fanon, and Postcolonial Theory, differences 23, no.11 (May 2012): 151–183.https://doi.org/10.1215/10407391-1533556Tsung-yi Michelle Huang Cinematic Imagination of Border-Crossing in Hong Kong and the Pearl River Delta: Comrades, Almost a Love Story and Durian, Durian, (Jan 2011): 170–188.https://doi.org/10.1057/9780230307186_9Tobias Wilke Tacti(ca)lity Reclaimed: Benjamin's Medium, the Avant-Garde, and the Politics of the Senses, Grey Room 39 (Apr 2010): 39–55.https://doi.org/10.1162/grey.2010.1.39.39Michael W. Jennings, Tobias Wilke Editors' Introduction Walter Benjamin's Media Tactics: Optics, Perception, and the Work of Art, Grey Room 39 (Apr 2010): 6–9.https://doi.org/10.1162/grey.2010.1.39.6Alexander Vasudevan Testing Times: Experimental Counter-Conduct in Interwar Germany, (Feb 2010): 199–216.https://doi.org/10.1007/978-90-481-8611-2_11Michael W. Jennings The Mausoleum of Youth: Between Experience and Nihilism in Benjamin's Berlin Childhood, Paragraph 32, no.33 (Nov 2009): 313–330.https://doi.org/10.3366/E0264833409000662Peter Eckersall, Fujii Shintaro, Takayama Akira, Hayashi Tatsuki On the Dramaturgical Field in Port B's Tokyo ‘Tour Performances’, Performance Research 14, no.33 (Sep 2009): 28–43.https://doi.org/10.1080/13528160903519492Amit S. Rai “First Day, First Show”, (May 2009): 23–54.https://doi.org/10.1215/9780822392330-003Amit S. Rai Contagious Multiplicities and the Nonlinear Life of the New Media, (May 2009): 55–130.https://doi.org/10.1215/9780822392330-004Amit S. Rai “The Best Quality Cinema Viewing … Everywhere, Everytime”, (May 2009): 133–178.https://doi.org/10.1215/9780822392330-006Amit S. Rai “With You Every Moment in Time”, (May 2009): 179–210.https://doi.org/10.1215/9780822392330-007Amit S. Rai Conclusion, (May 2009): 211–219.https://doi.org/10.1215/9780822392330-008Amit S. Rai Notes, (May 2009): 221–273.https://doi.org/10.1215/9780822392330-009Amit S. Rai Bibliography, (May 2009): 275–289.https://doi.org/10.1215/9780822392330-010 Introduction, (Jan 2009): 1–20.https://doi.org/10.1215/9780822392330-001 Miriam Bratu Hansen Benjamin's Aura Miriam Bratu Hansen, Critical Inquiry 34, no.22 (Jul 2015): 336–375.https://doi.org/10.1086/529060 Nationalizing Sense Perception, (Jan 2008): 15–88.https://doi.org/10.1215/9780822381198-002 Cleansing Vision, (Jan 2008): 89–139.https://doi.org/10.1215/9780822381198-003 Negative Aesthetics, (Jan 2008): 140–168.https://doi.org/10.1215/9780822381198-004 Notes, (Jan 2008): 169–181.https://doi.org/10.1215/9780822381198-005 Bibliography, (Jan 2008): 183–191.https://doi.org/10.1215/9780822381198-006Karen Beckman, Jean Ma Introduction, (Jan 2008): 1–19.https://doi.org/10.1215/9780822391432-001Tom Gunning What's the Point of an Index? or, Faking Photographs, (Jan 2008): 23–40.https://doi.org/10.1215/9780822391432-003Timothy Corrigan “The Forgotten Image between Two Shots”, (Jan 2008): 41–61.https://doi.org/10.1215/9780822391432-004Juan A. Suárez Structural Film, (Jan 2008): 62–89.https://doi.org/10.1215/9780822391432-005Atom Egoyan An Essay on Calendar, (Jan 2008): 93–97.https://doi.org/10.1215/9780822391432-007Jean Ma Photography's Absent Times, (Jan 2008): 98–118.https://doi.org/10.1215/9780822391432-008Rebecca Baron, interviewed by Janet Sarbanes The Idea of Still, (Jan 2008): 119–133.https://doi.org/10.1215/9780822391432-009Karen Beckman Crash Aesthetics, (Jan 2008): 134–157.https://doi.org/10.1215/9780822391432-010Rita Gonzalez Surplus Memories, (Jan 2008): 158–171.https://doi.org/10.1215/9780822391432-011George Baker Photography's Expanded Field, (Jan 2008): 175–188.https://doi.org/10.1215/9780822391432-013Nancy Davenport Weekend Campus, (Jan 2008): 189–195.https://doi.org/10.1215/9780822391432-014Louis Kaplan Aleph Beat, (Jan 2008): 196–225.https://doi.org/10.1215/9780822391432-015Zoe Beloff Mental Images, (Jan 2008): 226–252.https://doi.org/10.1215/9780822391432-016Raymond Bellour Concerning “the Photographic”, (Jan 2008): 253–276.https://doi.org/10.1215/9780822391432-017 References, (Jan 2008): 277–291.https://doi.org/10.1215/9780822391432-018Alexander Vasudevan Symptomatic Acts, Experimental Embodiments: Theatres of Scientific Protest in Interwar Germany, Environment and Planning A: Economy and Space 39, no.88 (Aug 2007): 1812–1837.https://doi.org/10.1068/a38295Zhang Zhen Introduction, (Jan 2007): 1–46.https://doi.org/10.1215/9780822390008-001Yingjin Zhang Rebel without a Cause? China’s New Urban Generation and Postsocialist Filmmaking, (Jan 2007): 49–80.https://doi.org/10.1215/9780822390008-003Jason McGrath The Independent Cinema of Jia Zhangke, (Jan 2007): 81–114.https://doi.org/10.1215/9780822390008-004Chris Berry Getting Real, (Jan 2007): 115–134.https://doi.org/10.1215/9780822390008-005Sheldon H. Lu Tear Down the City, (Jan 2007): 137–160.https://doi.org/10.1215/9780822390008-007Yomi Braester Tracing the City’s Scars, (Jan 2007): 161–180.https://doi.org/10.1215/9780822390008-008Augusta Palmer Scaling the Skyscraper, (Jan 2007): 181–204.https://doi.org/10.1215/9780822390008-009 Whither the Walker Goes, (Jan 2007): 205–238.https://doi.org/10.1215/9780822390008-010 Ning Ying’s Beijing Trilogy, (Jan 2007): 241–263.https://doi.org/10.1215/9780822390008-012 Zhang Yuan’s Imaginary Cities and the Theatricalization of the Chinese “Bastards”, (Jan 2007): 264–294.https://doi.org/10.1215/9780822390008-013 Mr. Zhao On and Off the Screen, (Jan 2007): 295–315.https://doi.org/10.1215/9780822390008-014 Maintaining Law and Order in the City, (Jan 2007): 316–343.https://doi.org/10.1215/9780822390008-015 Urban Dreamscape, Phantom Sisters, and the Identity of an Emergent Art Cinema, (Jan 2007): 344–388.https://doi.org/10.1215/9780822390008-016 Bibliography, (Jan 2007): 411–428.https://doi.org/10.1215/9780822390008-017 The Image of Common Sense, (Jan 2007): 11–26.https://doi.org/10.1215/9780822390145-002 In the Interval, (Jan 2007): 27–44.https://doi.org/10.1215/9780822390145-003 “In Order to Move Forward”, (Jan 2007): 45–67.https://doi.org/10.1215/9780822390145-004 “We’ll Just Have to Get Guns and Be Men”, (Jan 2007): 68–94.https://doi.org/10.1215/9780822390145-005 “A Black Belt in Bar Stool”, (Jan 2007): 95–117.https://doi.org/10.1215/9780822390145-006 “What’s Up with That? She Don’t Talk?”, (Jan 2007): 118–137.https://doi.org/10.1215/9780822390145-007 Reflections on the Black Femme’s Role in the (Re)production of Cinematic Reality, (Jan 2007): 138–158.https://doi.org/10.1215/9780822390145-008 Notes, (Jan 2007): 159–194.https://doi.org/10.1215/9780822390145-009 Bibliography, (Jan 2007): 195–202.https://doi.org/10.1215/9780822390145-010Bill Brown The Dark Wood of Postmodernity (Space, Faith, Allegory), PMLA/Publications of the Modern Language Association of America 120, no.33 (Oct 2020): 734–750.https://doi.org/10.1632/003081205X63831Miriam Bratu Hansen Room-for-Play: Benjamin's Gamble with Cinema, October 109 (Jul 2004): 3–45.https://doi.org/10.1162/0162287041886511JUSTUS NIELAND West’s Deadpan: Affect, Slapstick, and Publicity in Miss Lonelyhearts, Novel 38, no.11 (May 2004): 57–83.https://doi.org/10.1215/ddnov.038010057Uwe Steiner Schriften des Exils 1933 – 1939, (Jan 2004): 110–145.https://doi.org/10.1007/978-3-476-05073-1_5 Victoria Olwell Typewriters and the Vote Olwell, Signs: Journal of Women in Culture and Society 29, no.11 (Jul 2015): 55–83.https://doi.org/10.1086/375676Alexander Vasudevan Writing the Asphalt Jungle: Berlin and the Performance of Classical Modernity 1900–33, Environment and Planning D: Society and Space 21, no.22 (Apr 2003): 169–194.https://doi.org/10.1068/d256tElizabeth Walden Vision, Touch and Feminist Epistemology, Tessera (Jun 2002).https://doi.org/10.25071/1923-9408.25293 Bill Brown How to Do Things with Things (A Toy Story), Critical Inquiry 24, no.44 (Oct 2015): 935–964.https://doi.org/10.1086/448902 Bibliographie, (): 295–299.https://doi.org/10.4000/books.pum.8772
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