Transparencies on Film Author(s): Theodor W. Adorno and Thomas Y. Levin Reviewed work(s): Source: New German Critique, No.

24/25, Special Double Issue on New German Cinema (Autumn, 1981 - Winter, 1982), pp. 199-205 Published by: New German Critique Stable URL: http://www.jstor.org/stable/488050 . Accessed: 06/08/2012 16:41
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on Transparencies Film*
W. by Theodor Adorno

in Children when eachother their follow rule:no the teasing squabbles, fair Their wisdom seems be lostontheall toothoroughly to growncopycat. old The attacked nearly the upadults. Oberhauseners producsixty-year trash tionof thefilm with "Daddy's Cinema."Representaindustry theepithet: than tives thelatter turn of in no retort "Kiddy's couldcomeup with better does Cinema."Thiscat,as onceagainthesaying children, not goesamong to when issueis the copy.Howpathetic pitexperience against immaturity the of of the very immaturitythat experience acquired during adolescence the medium. is Whatis repulsive aboutDaddy'sCinema itsinfantile character, of defenders manufacturedanindustrial Thesophistrythe on scale. regression insists thevery on of is of the by type achievement concept which challenged theopposition. evenifthere were to However, something that reproach if in films didnot that were someways clumsier business really playalongwith thanthe latter's wouldbe smoothly polishedwares thenthetriumph It that pitiful. wouldonlydemonstrate thosesupported thepowerof by in coulddo better routine highly and trained capital, technological specialists some respects the thanthosewho rebelagainst colossusand thusmust In comof the necessarily forego advantages itsaccumulated potential. this is uncertain itseffects, of awkward unprofessional and cinema, paratively become the massmediamight inscribed hopethat so-called the eventually Whileinautonomous anything art different. lagging something qualitatively the behind already does the established technical standard notrate, but vis-.-vis culture excludes industry whosestandard everything thepredigested wrinandthealready facial trade eliminates integrated, as thecosmetic just kles- works which havenotcompletely mastered technique, their conveyand havea uncontrolled accidental, ingas a result consolingly something the become In the of liberating quality. them flaws a pretty complexion girl's star. corrective theimmaculate oftheprofessional to face novel of Itis known inthe that Tirlessfilm' large segments Musil'searly
* Basedonan article Die Zeit,18November in in 1966,this essaywaspublished Theodor W. Adorno, Leitbild here with Ohne (Frankfurt/M.: 1967).Itappears inEnglish the Suhrkamp, of (translator's footnote). permission Suhrkamp Verlag 1. DerjungeTOrless a based Die (1965/66), film Volker Musil, by Schl6ndorff, onRobert
des Verwirrungen ZeiglingsThrless(translator's footnote).

199

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wereincorporated thedialogue almost into unchanged. Theyareconsidered tothelinesbythescriptwriters, no living which would ever superior person andwhich themeantime beenridiculed American in have critics. In utter, by their ownway,however, Musil'ssentences tend soundartificial also as to soonas they heard, read.Thismay tosomeextent fault the are be the of not novelwhich a into casuistry theinternal incorporatestypeof rationalistic movement itstext of under guise a psychology the of that more the progressive Freudian of period as Nevertheless, psychology the exposed a rationalization. thisis hardly wholepoint. the difference the The artistic between mediais who abletoavoid prose bad still than those feel obviously greater expected by Evenwhen is usedina novel, spoken the byadapting goodprose. dialogue word notdirectly is distanced theactofnarration but spoken is rather by evenbythetypography andthereby from abstracted thephysical perhaps of never resemble characters their Thus,fictional presence living persons. how In no matter minutely aredescribed. fact, it empirical they counterparts be dueto thevery areremoved oftheir that may precision presentation they evenfurther empirical from autonomous. aesthetically reality; become they is Suchdistance abolished film: theextent a film realistic, in is to that the semblance immediacy of cannot avoided. a result, As be by phrases justified thediction narrative of which them the everydayness distinguishes from false ofmere sound and in Film, therefore, reportage, pompous inauthenticfilm. must search other for means conveying of which immediacy: improvisation surrenders to unguided rank itself chance should systematically high among alternatives. possible The late emergence filmmakesit difficult distinguish between of to andtechnology clearly is possible music. music tothe as as in In technique up electronic of technique the sound structure the period,the intrinsic work wasdistinct itsperformance, means reproduction. from the Film of theequation technique technology of and obsince,as Benjamin suggests the has which then is on a massscale: served, cinema nooriginal reproduced the massproduct the is in is thing itself. equation, This however, problematic, film wellas in music. as incinematographic refer the to techniques Experts fact Chaplin either that unaware orpurposely was of these ignored techniques, content the with photographic of routines being rendering sketches, slapstick orother and This status one can performances. in no waylowers Chaplin's doubtthat was 'filmic.'Nowhere on thescreen he but couldthis hardly of the enigmatic figure reminiscentold-fashioned right photographs from start havedeveloped concept. a consequence, appears its As it impossible
to derivenormsof criticism fromcinematographic techniqueas such. The mostplausibletheory filmtechnique, that whichfocuseson themovement of of objects,2 bothprovocatively is deniedand yetpreserved, negative in form,

2. Cf. Siegfried Kracauer,Theory Film: The Redemption PhysicalReality (New York: of of OxfordUniversity Press, 1960), pp. 41 ff.

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inthe static of like character films Antonioni's Notte. La Whatever 'uncineis matic'in this as film itthepower express, ifwith to hollow eyes,the gives oftime. ofthe ofthe the cinema, origins emptiness Irrespective technological of aesthetics film'will better baseitself a subjective do to on mode experiof ence whichfilmresembles which and constitutes artistic its character. A a a fewweeksin themountains after yearin thecity, who, person spends colorful from of abstaining all work, mayunexpectedly experience images or overhimor herin dreams daydreams. landscapes coming consolingly in Theseimages notmerge one another a continuous do but into flow, are in of much like rather off set against eachother thecourse their appearance, of themagiclantern slidesof ourchildhood. is in thediscontinuitytheir It of resemble phenomthe movement theimages theinterior that monologue fixed its in enon writing: latter of before eyeswhile our the similarly moving be to film what the of discrete Suchmovement interior images may signs. As objectifying is world music. the visible world topainting the or acoustic to art. film become Thetechnological recreation this of of type experience, may of medium excellence thus is related thebeauty nature to (tief intimately par verwandt Naturschonen). dem Ifonedecides taketheself-censors orlessliterally confront to more and films the with context their of onewillhavetoproceed more reception, subtly than those traditional content relied which, necessity, analyses by primarily on theintentions a filmand neglected potential between of the such gap intentions their and actualeffect. This gap, however, inherent the is in medium. according the analysis "Televisionas Ideology"'film If to of accommodates various of behavioral this layers response patterns, would thatthe ideology the industry, officially its intended imply by provided no meansautomatically to those affect that the models, mayby correspond If empirical communications research to werefinally look for spectators. which couldlead to someresults, one wouldmerit this problems priority. the official models a number inofficial which are of ones Overlapping supply theattraction are intended be neutralized theformer. order to In to yet by theconsumers provide and withsubstitute them the satisfaction, capture ifyou heterodox must in broader unofficial, will, ideology bedepicted a much andjuicier than fashion suits moral thestory; tabloid the of the newspapers furnish of the weekly examples suchexcess. One wouldexpect public's of to all more since libido, repressed a variety taboos, respond the by promptly these behavioral the fact they allowed pass,reflect that are to patterns, by very anelement collective of While intentionalways is directed approval. against theplayboy, dolcevitaandwildparties, opportunity the the tobehold them
in 3. T. W. Adorno, Neun "Fernsehen Ideologie," Eingriffe: Kritische als Modelle (Frank"How to Lookat furt: 1936),pp. 81-98.Basedon an English-language original: Suhrkamp, vol. The RadioandTelevision, VII (Spring Television," Quarterly 1954), 213-235, ofFilm, pp. of in: and as and Patterns MassCulture," B. Rosenberg D. Manning reprinted "Television the Arts Free eds. The Press, White, MassCulture: Popular inAmerica (NewYork: 1957), 474pp. 488 (translator's footnote).

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verdict. today the If seemsto be relished morethan hasty youcan see in inPrague, eveninconservative Switzerland inCatholic and Rome, Germany, locked eachothers and in andgirls the streets arms everywhere, boys crossing eachother then havelearned andprobably unembarrassed, they this, kissing from films which the Parisian as In more, peddle libertinage folklore. its to manipulate masses ideology theculture the the of itself industry attempts becomes internally as as the it to which aims control. society antagonistic very of The ideology theculture contains antidote itsownlie. No the to industry other couldbe madeforitsdefense. plea The photographic of process film, primarily representational, a places intrinsic on to than higher significance theobject,as foreign subjectivity, this of autonomous in aesthetically techniques; isthe retarding aspect film the of Evenwhere dissolves modifies objects historical film its as and process art. much itcan,the as isnever itdoesnot disintegration complete. Consequently, absolute construction: elements, its however retain abstract, permit always aesthetic values. Due tothis something representational; arenever they purely into more on difference, society projects film differentlyfar directly quite - thanintoadvanced account theobjects of or That painting literature. which irreducible the is about objects film itselfmark society, to in is a of prior theaesthetic realization an intention. virtue this of of to By relationshipthe the of is concerned society. with There object, aesthetics film thus inherently canbenoaesthetics the of cinema, evena purely not one, technological which wouldnotinclude sociology thecinema.Kracauer's the of of theory film which abstention us is that practices sociological compels toconsider which left inhisbook;otherwise out antiformalism into turns formalism. Kracauer the of to film ironically playswith resolve hisearliest youth celebrate as the discoverer thebeauties dailylife:sucha program, of of was however, a of films which to program Jugendstil as all those just attempt letwandering cloudsand murky are of pondsspeakforthemselves relics Jugendstil. By cleansedof subjective thesefilms objectspresumably choosing meaning, infuse objectwith the that which are to exactly meaning they trying resist. did on he Benjamin notelaborate how deeplysomeof thecategories for test with commodity postulated film exhibition, - areimbricated the character which theory his of nature anyrealist opposes.The reactionary aesthetic from commodity this character. to todayis inseparable Tending the of surface society, realism dismisses reinforce, affirmatively, phenomenal to that as endeavor. meananyattempt penetrate surface a romantic Every - including critical the to ing meaning which camera eye imparts the

filmwould alreadyinvalidate law of thecameraand thusviolateBenjathe min's taboo, conceived as it was withthe explicitpurposeof outdoingthe Brechtand thereby thismayhave been its secretpurposeprovocative freedomfromhim. Film is faced with the dilemmaof finding a gaining

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whichneither nor procedure lapses intoarts-and-crafts slips intoa mere mode.The obvious answer as forty of documentary years today, ago, is that which does notinterfere things rather with in but them a montage arranges constellation tothat writing. viability a procedure akin of of The basedonthe ofshock, Puremontage, raises doubts. without addithe however, principle tion intentionality elements, not of inits from does derive intention merely the of itself. seemsillusory claimthat It to therenunciationall principle through of inherent renunciation psychology, the meaning, especially cinematically will from reproduced the material itself. may however, It be, meaning emerge that entire the to issue is rendered obsolete theinsight therefusal that by is in a act toadd interpret, subjective ingredients, itself subjective andas such a priori who silent not The subject remains speaks less significant. individual butmore silence than when aloud.Thosefilmmakers ostrathrough speaking cizedfor absorb insight this too should, wayofrevision, being intellectual by into their the methods. the Nonetheless, gapbetween most working progressivetendencies the in visual andthose film of arts continues exist, to comprothe For mostradicalintentions. thetimebeing,evidently, mising latter's lies with film'smostpromising media, potential in its interaction other of themselves into such certain as kinds music. ofthe One most merging film, film of is by powerful examples suchinteraction thetelevision Antithese4 Mauricio composer Kagel. models collective for is its film behavior That, among functions, provides not anadditional inheres ofideology. Suchcollectivity, rather, just imposition inthe of which film are innermost elements film. movements The the presents mimetic incite viewers the toall content meaning, and which, impulses prior In film andlisteners fallinto to respect, resembles stepas ifina parade. this music as, inthe film It ofradio, music resembled strips. would just days early offilm a "we" inwhich not incorrectdescribe constitutive be as to the subject theaesthetic sociological and Anything converge. aspectsof themedium of from thirties thepopular with actress was the Goes5 thetitle a film English of formal GracieFields;this'anything' thevery substance film's captures current As eye it movement, toallcontent. the is carried along, joinsthe prior ofall those nature whoareresponding thesameappeal.Theindeterminate to of thiscollective is to which linked theformal (Es), however, "anything" of medium: pseudothe character film of misuse the facilitates ideological the in must the "things change"isconveyed revolutionary blurring which phrase on table. liberated would have of one'sfist the The film bythe gesture banging of and to wrest a prioricollectivity themechanisms unconscious its from
4. Antithese: for one performer electronic everyday Film with and sounds(1965); first broadcast (translator's footnote). April1, 1966byNDR III, Hamburg 5. Anything Goes (1936; Paramount), Lewis Milestone, dir. withBing Crosby, Ethel GraceBradley Merman, (sic!) andothers; (translator's footnote). songsbyCole Porter

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irrational influence enlist collectivitytheservice emancipatory and this in of intentions. Filmtechnology developed series techniques has a of which work against therealism inherent the in photographic these soft-focus are process. Among shots a longoutdated custom photography superimpositions, in arty andalso, frequently, It time recognize ludicrousthe flashbacks. is about to nessof sucheffects getridof them and becausethesetechniques not are in of but works inmere convention; grounded thenecessities individual they inform viewer to what being the is as needs be addedin to or signified what order comprehend to whatever realism. Sincethese escapesbasiccinematic almostalwayscontain some expressive even if commontechniques arisesbetween and own,a discrepancy place- valuesof their expression conventional Thisis what inserts appearance kitsch. the of sign. givesthese Whethercreates sameeffect the is in context montage extradiegetic the of and associations yetto be examined. anycase, suchcinematographic has In tact film-maker. lesson The to divagations require particular onthe ofthe part belearned from phenomenon this isdialectical: in which technologyisolation, the of as to its disregards nature film language, endup incontradiction may owninternal film no should longer logic.Emancipated production depend mere of in (i.e. uncritically technology the upon equipment itsprofession)the manner a bynomeans 'newobjectivity' of still mehr (einer keineswegs neuen In film the however, aesthetic Sachlichkeit). commercial production, logic in inherent thematerial caught a stage crisis in of is evenbefore is given it a chance really to unfold. demand a meaningful The for between relationship material content and does notmixwell withthefetishism of technique,

means.

thelow artof thepast,was notitsrationale. the Moreover, venerable roughness and idiocyof suchhybrids circensesand burlesque popularduring of so thelateRomanempire notjustify revival suchphenomena do the of after they have become aesthetically sociallytransparent. and Even ifconsidered apart

It is undeniable Daddy'sCinemaindeed that to corresponds whatthe consumers rather itprovides with unconscious that them an or, want, perhaps, canon what of do that different what from they notwant, is, something they arepresently the could beingfed.Otherwise, culture industry nothavebecomea mass culture. identitythese phenomena, The of two is so however, not doubt critical as assumes long itfocuses the as as on aspect of beyond thought and from of Nevertheless, production refrains empirical analyses reception. thefavorite of and that argument thewhole- half-hearted apologists, culture is theartoftheconsumer, untrue; is theideology ideology. is it of industry Eventhe reductive of culture with low of equation the industry the art all ages doesnot hold Theculture contains element rationality an of -the up. industry calculated ofthelow- which, while not in reproduction certainly missing

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from historical the of its for perspective, validity theargument consumerart oriented can be attacked thevery in Its proponents the present. depict between anditsreception static harmonious, art as and relationship according in tothe a Art of and model. unrelated principle supply demand, itself dubious to theobjective of itstime equally is as artwithout the unimaginable spirit moment it. from which which transcends The separation reality empirical of the that to pertains theconstitution artfrom outset requires precisely The to on which likesto moment. conformitytheconsumer, thecontrary, is nothing theeconomic but as of masquerade humanitarianism, technique consumer itmeans renunciationall interferthe of Artistically, exploitation. of encewith syrupy the idiom substance thecurrent with and,as a result, the reified consciousness theaudience. reproducing latter hypoof the with By critical the this consciousness subservience, culture industry changes reified all themore, is, for ownpurposes: actually it that its that prevents consciousnessfrom on itsown,as itsecretly deepdown, and, unadmittedly changing The are to desires. consumers made remain they consumers. is what are: That culture the of consumer rather projection the is not art the but the why industry ofthe ofthose control their will in onto victims. automatic The self-reproductionof the status of in its established forms itself expression is an quo domination. One will have observed it is difficult, that the to initially, distinguish ofa 'coming attraction' the from main film which is waiting. for one preview Thismay us something themain tell about attractions. the Like previews and likethepop hits, areadvertisements themselves, thecomfor they bearing character a mark Cainon their like of foreheads. commercial modity Every film actually is thepreview that of which promises willnever it and only deliver. Howniceitwould if,under present be the one claim circumstances, could that lessfilms the tobe works art, more of the would justthat. be appear they One is especially drawn thisconclusion reaction thosesnobbish to in to class-A which culture the forces itself make to psychological pictures industry for sakeofcultural the Evenso, onemust legitimation. guard against taking suchoptimism far:the standardized too Westerns thrillers to say and of of and patriotic humor the (Heinothing theproducts German tear-jerkers even the than official In integrated hits. culture one matschnulze)-are worse cannot evendepend thedregs. on
Translatedby Thomas Y. Levin