One of the foremost tasks of art has always been the creation of a demand which could be fully satisfied only later. The history of every art form shows critical epochs in which a certain art form aspires to effects which could be fully obtained only with a changed technical standard, that is to say, in a new art form. The extravagances and crudities of art which thus appear, particularly in the so-called decadent epochs, actually arise from the nucleus of its richest historical energies. In recent years, such barbarisms were abundant in Dadaism. It is only now that its impulse becomes discernible: Dadaism attempted to create by pictorial – and literary – means the effects which the public today seeks in the film.

Every fundamentally new, pioneering creation of demands will carry beyond its goal. Dadaism did so to the extent that it sacrificed the market values which are so characteristic of the film in favor of higher ambitions – though of course it was not conscious of such intentions as here described. The Dadaists attached much less importance to the sales value of their work than to its usefulness for contemplative immersion. The studied degradation of their material was not the least of their means to achieve this uselessness. Their poems are “word salad” containing obscenities and every imaginable waste product of language. The same is true of their paintings, on which they mounted buttons and tickets. What they intended and achieved was a relentless destruction of the aura of their creations, which they branded as reproductions with the very means of production. Before a painting of Arp’s or a poem by August Stramm it is impossible to take time for contemplation and evaluation as one would before a canvas of Derain’s or a poem by Rilke. In the decline of middle-class society, contemplation became a school for asocial behavior; it was countered by distraction as a variant of social conduct. Dadaistic activities actually assured a rather vehement distraction by making works of art the center of scandal. One requirement was foremost: to outrage the public.

From an alluring appearance or persuasive structure of sound the work of art of the Dadaists became an instrument of ballistics. It hit the spectator like a bullet, it happened to him, thus acquiring a tactile quality. It promoted a demand for the film, the distracting element of which is also primarily tactile, being based on changes of place and focus which periodically assail the spectator. Let us compare the screen on which a film unfolds with the canvas of a painting. The painting invites the spectator to contemplation; before it the spectator can abandon himself to his associations. Before the movie frame he cannot do so. No sooner has his eye grasped a scene than it is already changed. It cannot be arrested. Duhamel, who detests the film and knows nothing of its significance, though something of its structure, notes this circumstance as follows: “I can no longer think what I want to think. My thoughts have been replaced by moving images.” The spectator’s process of association in view of these images is indeed interrupted by their constant, sudden change. This constitutes the shock effect of the film, which, like all shocks, should be cushioned by heightened presence of mind. By means of its technical structure, the film has taken the physical shock effect out of the wrappers in which Dadaism had, as it were, kept it inside the moral shock effect.

[Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction]

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