Comment utiliser ces textes ? Ils doivent vous donner accès à la pensée originale authors cited in progress. Therefore
- identify the author and his place in the intellectual life of his time (some research on the internet now gives you all the keys);
- replace the work of which is extracted from in its historical context;
- read the "pencil in hand" to understand the meaning and nuances.
Paper No. 1. Bertolt Brecht: The "public taste" ruse of capitalism?
".... Suppose that the metaphysical comments about the film that our newspapers publish in the few pages that are pas destinées à être remplies d’annonces, on ajoute de la physique, c’est-à-dire une vision des mécanismes proprement dits, du pourquoi et du comment du cinéma ( il n’est pas possible, en effet, que le cinéma soit uniquement le produit de la diligence philantropique de quelques financiers désireux de faire connaître au public les dernières trouvailles de la technique et les plus belles pensées des poètes), que l’on passe donc sur cet « arrière » étalé si largement sur le devant, que l’on éclaire ce « devant » si anxieusement caché à l’arrière, et que This is cinema as a business (in disrepair), which involves gorging at the pump amorphous audience, unimaginable, enormous, to serve him regularly, immutably, his unvarying diet of entertainment, that does not allow more than old methods of metaphysics than eliminating absolute obstacle to any progress called "public taste". Public taste, this complicated thing that costs and relates to both, is impeding progress. There is no doubt that the influence of buyers on the shaping of the product is growing and it has consequences reactionaries. It therefore becomes necessary to fight for our progressive influence that this film represents buyers, these organizers provincial market. In looking more closely, these people allow themselves to exercise a function that should return to the press and our metaphysical dramas of choosing what is good for the consumer. Therefore the fight, because they are reactionary, and then our metaphysicians have no trouble finding them: they are in the back room of their leaves in the pages of ads. The public taste for them is this something which costs and which relates the true expression of actual needs of the masses films. It therefore establishes empirically, and these people with sharp instincts, which are materially dependent of the correctness of their analysis, act exactly as if the roots of taste were buried in the social and economic picture of the masses, as if the buyers were buying really something, as if the item purchased was determined by the location of the buyer, so that taste as if it could be altered by being aesthetic or by prémâchage juicy and noisy so successful that our Kerre and other Diebold [1] , but at best a real and profound change of the situation "
Bertolt Brecht, Sur le cinéma , 1931, trad. Fr. 1931, 1970, p. 172 Chapitre « Critique des représentations ». Affirmation n° 2 « On peut éduquer le goût du public »
2° Walter Benjamin, La « mécanisation » de l’œuvre d’art, véritable fondement d’une nouvelle
esthétique (1936)
esthétique (1936)
« La masse est la matrice où, à l’heure actuelle, s’engendre l’attitude nouvelle vis-à-vis de l’œuvre Art. The quantity is transformed into quality: masses much larger participants have produced a transformed mode of participation. The fact that this mode occurs first, discredited form must not mislead, and yet he did not fail to attack with passion in this superficial aspect of the problem. Among these, Duhamel has expressed the most radical. The main complaint is that the film is the mode of participation it generates among the masses. Duhamel sees in the film "an entertainment island, a pastime of illiterate creatures miserable, bewildered by their work and their concerns ..., a show that requires no effort, which implies no continuity of ideas ..., awakens in the depths of hearts
no light excites no hope, if not that, ridiculous , of one day "Star in Los Angeles" (Georges Duhamel, Scenes de la vie future , Paris, 1930 p. 58.).
we can see, is basically the same old complaint that the masses seek only to amuse himself while art requires contemplation. It is a commonplace. Remains whether it is able to solve the problem. Whoever ponders the artwork plunges: disappeared as it penetrates the Chinese painter who disappeared in the flag painted on the bottom of its landscape. Cons by mass, even by his distraction, collects the work of art within it, she sends her lifestyle, she embraces the waves [...].
no light excites no hope, if not that, ridiculous , of one day "Star in Los Angeles" (Georges Duhamel, Scenes de la vie future , Paris, 1930 p. 58.).
we can see, is basically the same old complaint that the masses seek only to amuse himself while art requires contemplation. It is a commonplace. Remains whether it is able to solve the problem. Whoever ponders the artwork plunges: disappeared as it penetrates the Chinese painter who disappeared in the flag painted on the bottom of its landscape. Cons by mass, even by his distraction, collects the work of art within it, she sends her lifestyle, she embraces the waves [...].
Walter Benjamin, Writings French , "The work of art at the time of its reproduction
mechanized" XVIII Folios Tests, 2003, 499 p., pp. 214-215
mechanized" XVIII Folios Tests, 2003, 499 p., pp. 214-215
3 Theodor W. Adorno: the culture industry (1951)
"Nowadays when the consciousness of leaders begins to coincide with the overall trends of
society, the tension between culture and kitsch is disappearing. Culture continues to lead his opponent to follow him she despises, she supports it. By administering the whole of humanity,
administers the same time the rupture between humanity and culture. Even the coarseness l’abrutissement et l’étroitesse imposés objectivement aux opprimés sont manipulés avec une souveraineté subjective dans l’humour. Rien ne saurait définir avec plus de précision cet état à la fois intégral et antagoniste que cette incorporation de la barbarie. Et pourtant ce faisant, la volonté des manipulateurs peut invoquer la volonté universelle. Leur société de masse n’a pas seulement produit la camelote pour les clients, elle a produit les clients eux-mêmes.
Ceux-ci étaient affamés de cinéma, de radio et de magazine ; quelque insatisfaction qu’ait laissé en eux l’ordre qui leur prend sans leur donner en échange what it promises, it has continued to burn for the jailer
remembered them and finally offers his left hand to the hungry stones on which the right hand refuses bread. Without the slightest resistance, the citizens of a certain age - who should have known something else - falling from a quarter century in the arms of the entertainment industry who knows so well capitalize on hungry hearts. "
society, the tension between culture and kitsch is disappearing. Culture continues to lead his opponent to follow him she despises, she supports it. By administering the whole of humanity,
administers the same time the rupture between humanity and culture. Even the coarseness l’abrutissement et l’étroitesse imposés objectivement aux opprimés sont manipulés avec une souveraineté subjective dans l’humour. Rien ne saurait définir avec plus de précision cet état à la fois intégral et antagoniste que cette incorporation de la barbarie. Et pourtant ce faisant, la volonté des manipulateurs peut invoquer la volonté universelle. Leur société de masse n’a pas seulement produit la camelote pour les clients, elle a produit les clients eux-mêmes.
Ceux-ci étaient affamés de cinéma, de radio et de magazine ; quelque insatisfaction qu’ait laissé en eux l’ordre qui leur prend sans leur donner en échange what it promises, it has continued to burn for the jailer
remembered them and finally offers his left hand to the hungry stones on which the right hand refuses bread. Without the slightest resistance, the citizens of a certain age - who should have known something else - falling from a quarter century in the arms of the entertainment industry who knows so well capitalize on hungry hearts. "
Theodor W. Adorno, Minima Moralia . Reflections on life mutilated, Payot, [1951]
2003, 357 p., "The Palace of Janus, pp. 199 p. 200
2003, 357 p., "The Palace of Janus, pp. 199 p. 200
Doc No. XX Marcuse, art and alienation
Absorbed in the good, the art of loses its challenge to world order
to become one tool among others social conformity.
to become one tool among others social conformity.
"Currently this essential distance between the arts and about every day is not just
abolished by the technical progress of society. The great refusal is denied. The "other dimension" is absorbed by the prevailing world affairs. Works distance are themselves incorporated into this company and they circulate as part and piece of hardware that adorns psychoanalysis and the prevailing world affairs, so they sell - they sell they comforting or
they excite. Advocates of mass culture are ridiculous to protest against the use of Bach as background music in the kitchen against the sale of works of Plato, Hegel, Shelley, Baudelaire, Marx and Freud, to the drugstore. They insist that the classics have left the shrine and returned to life on the fact that thus the public is educated. That's true but if they return to life as classic as they relive other than themselves, they are deprived of their antagonistic force, their strangeness that was the size of their
truth. The purpose and function of work has fundamentally changed. While initially they were inconsistent with the status quo, this contradiction has now disappeared. "
abolished by the technical progress of society. The great refusal is denied. The "other dimension" is absorbed by the prevailing world affairs. Works distance are themselves incorporated into this company and they circulate as part and piece of hardware that adorns psychoanalysis and the prevailing world affairs, so they sell - they sell they comforting or
they excite. Advocates of mass culture are ridiculous to protest against the use of Bach as background music in the kitchen against the sale of works of Plato, Hegel, Shelley, Baudelaire, Marx and Freud, to the drugstore. They insist that the classics have left the shrine and returned to life on the fact that thus the public is educated. That's true but if they return to life as classic as they relive other than themselves, they are deprived of their antagonistic force, their strangeness that was the size of their
truth. The purpose and function of work has fundamentally changed. While initially they were inconsistent with the status quo, this contradiction has now disappeared. "
Herbert Marcuse, One Dimensional Man , Minuit, [1964], 1968, p. 88
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