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Benjamin wrote the essay in exile in Paris in 1935 and revised it several times. It first appeared in 1936 in a French translation by Pierre Klossowski in the Zeitschrift für Sozialforschung, the journal of the exiled Institute for Social Research; the German versions were published only after his death. Benjamin argues that photography and film change the way art is perceived: reproduction detaches the work from tradition, and the cinema audience becomes an absent-minded examiner. The famous ending contrasts fascism’s aestheticisation of politics with communism’s politicisation of art. Adorno questioned the essay’s hopes for mass art in a letter to Benjamin; it became a key text of media theory.

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