期刊名称：Proceedings of the European Society for Aesthetics
电子版ISSN：1664-5278
出版年度：2010
卷号：2
页码：143-160
出版社：European Society for Aesthetics
摘要：In his famous "work of art" essay, Walter Benjamin placespolitics at the centre of an aesthetics of modernity. He provides abrisk contrast between the romantic tradition of art philosophy anda politicisation of perception, receiving its training through the ex-perience of the metropolis, in terms of Georg Simmel, and devel-oping its appropriate artistic medium in film. Simmel is also thetheorist who provides the backing for Benjamin's concept of "ex-hibition value": in a modern society individuals have a right and anecessity to be exhibited, precisely because of their individuality;universal egalitarianism requires visual di.erentiation. To turn theattention to the ambivalence of that social visualization and to re-fine Benjamin's hegelian-marxist patterns of thought, it is helpful torefer to Michel Foucault's concept of the apparatus (dispositif ). Incontrast, Gilles Deleuze shifts the point of view. The kind of mo-dern self-understanding, coined by the French Revolution, is ques-tioned .radically' by him and the French anarchist tradition of so-called postmodernism. Since 'the people' and 'the masses' no longerexist, they can no longer present themselves, including on the cin-ema screen. At best, they are 'coming soon'. Following an old tradi-tion, the cinema of Deleuze therefore shifts attention from a socialtheory to an ontology. Based on the dualist epistemology of Berg-son, in which 'analysis' meets 'intuition', science meets metaphysics,Deleuze looks for the "time-image" and a "seer" who oscillates bet-ween aesthetics and mysticism. It is therefore fair to state, and notonly through the lens of Benjamin, that the Deleuzian philosophyof cinema establishes, in a pseudo-revolutionary way, the return of"cult value".
