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Mount Vesuvius: a volcanic eruption at the foot of the mountain, 1760-1761, causing the destruction of the land and property. Coloured etching by Pietro Fabris, 1776, after his drawing, 1760-1761.

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Giulio Paolini. Nécessaire, 1968.

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Villa Jovis. Built by emperor Tiberius and completed in AD 27. Reconstruction by Weichardt (1900), view from the south-west

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life covered by a veil of melancholy https://www.instagram.com/p/CXbSAztIZza/?utm_medium=tumblr

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Tropical Malady (Apichatpong Weerasethakul, 2004)

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Benjamin tends to align shock in film—and hence its “formal principle”—with montage. The very rapidity of the changing images in film is potentially traumatic for the spectator and allows the cinema to embody something of the restructuration of modern perception. For Benjamin, the shock experience of film makes it adequate to its age, unlike other aesthetic forms, with their adherence to the aura.

Despite Benjamin’s explicit equation of filmic shock and montage, it is clear from his theoretical activation of Freud and Proust and his delineation of shock as a surface phenomenon unassimilable to meaning, that the cinema’s shock effect is ineluctably associated with its indexicality, its ability to register or represent contingency. Montage functions for Benjamin not so much to confer order or meaning but to rapidly accumulate and juxtapose contingencies. In this, the film form mimics and displays for the spectator the excesses of a technologically saturated modern life. And, comparing this shock-producing montage to work on the assembly line (where gestures are isolated and disconnected) and to the unretentive and mechanical gestures of gambling (the coup), Benjamin is necessarily ambivalent about the ideological effects of the cinema (a form that both refuses the depth of experiential meaning–Erfahrung–and, at the same time, is a sensitive indicator of and participant in the vast reorganization of subjectivity in modernity). His ambivalence here mirrors that associated with image of contingency as both lure and threat.

Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, The Archive. Harvard University Press, 2002.