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Down with the Jewish stultification of the people! Down with the vermin! Down with Mickey Mouse, wear the swastika!
The little mouse presented that anarchic and ecstatic appeal that people expected from jazz. The most famous example is obviously Sergei Eisenstein, who, when he was invited to the US by Paramount Pictures in the spring of , befriended Disney and considered him a great artistic innovator and a paragon of cinematographic art until his death in By presenting a world dominated by speed, Surviving Civilisation with Mickey Mouse and a Laugh fragmentation, grotesque perspective changes, an infinite metamorphosis, and the breakdown of the boundaries separating the living from the non- living and machines from animals, these films touched the fundamental questions of the dismantling of subjectivity, the crisis of tradition, and the domination of technology.
Where to look for possibilities of change and revolution?
How to reinterpret the relation between the body and technology? And how to invent a different organisation of the relation between humanity and nature?
It is therefore no surprise that he, too, was intrigued and fascinated by such a pervasive and global phenomenon as the explosive success of Mickey Mouse. Though not always in an unambiguous way, Benjamin pursues time and again the possibility of reconceptualising knowledge and action in the face of the radical transformations occurring in modernity, which emptied out from within the very conditions of possibility of experiencing, knowing, remembering, and thus also of acting.
According to Benjamin, capitalist modernity reduced every Erfahrung to Erlebnis. The first term, which stems from the verb fahren to go by vehicle and is etymologically linked to the term Gefahr danger , gives experience a sense of mobility, temporal continuity, repetition, habit and return, and at the same time also a sense of risk for the experiencing subject.
Bourgeois humanism will always remain inadequate and unable to understand and manage both the psychological trauma of the war and that of the catastrophic economic crisis that ensued. It is in this context that Benjamin, exiled to Paris since March , composed a short, but fundamental essay, which somehow takes stock of the situation and defines many of the ideas that inhabit his analyses in these years—and which already appear in Mickey Mouse.
And it is a dream that, more than the works of modernist intellectuals, is accessible to the masses.
In a variant of the first version of the essay Experience and Poverty, one can read: We can tell them fairy tales again, in which the world is new and fresh as it is for children.
Preferably film fairy tales. Who could have validated experiences as Mickey Mouse does in his films? A Mickey Mouse film today is perhaps still unintelligible for the individual, but not for an audience. And a Mickey Mouse film can rhythmically rule a whole audience.
Only a few individuals can still orient themselves before the Iliad or the Divine Comedy. From Wikipedia, the free encyclopedia. Micky Maus Cover to issue 1.
Comics through Time: A History of Icons, Idols, and Ideas. Retrieved August 23, Disney comics. Disney Publishing Worldwide.
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Classification Class. Value List. A restrictive list of valid specifications of a property. Application Class. Class that comprises all characteristics described by properties.
Sub-class of an application class that comprises all properties describing a certain aspect of a product, not the product itself, e. Sub-class of an application class that comprises all properties describing a certain part of a product.