The technological reproducibility of the artwork changes the relation of the masses to art. The extremely backward attitude towards a Picasso painting changes into a highly progressive reaction to a Chaplin film.
The progressive reaction is characterized by an immediate, intimate fusion of pleasure—pleasure in seeing and experiencing—with an attitude of expert appraisal. Such a fusion is an important social index. As is clearly seen in the case of painting, the more reduced the social impact of an art form, the more widely criticism and enjoyment of it diverge in the public.
The conventional is uncritically enjoyed, while the truly new is criticized with aversion. With regard to the cinema, the critical and uncritical attitudes of the public coincide. The decisive reason for this is that nowhere more than in the cinema are the reactions of the individuals, which together make up the massive reaction of the audience, determined by the imminent concentration of reactions into a mass. No sooner are these reactions manifest than they regulate one another.
Again, the comparison with painting is fruitful. A painting has always exerted a claim to be viewed primarily by a single person or by a few. The simultaneous viewing of paintings by a large audience, as happens in the nineteenth century, is an early symptom of the crisis in painting, a crisis triggered not only by photography but, in a relatively independent way, by the artwork’s claim to the attention of the masses.
Walter Benjamin, “The Work of Art in the Age of Reproducibility” (third version)