ABSTRACT
Benjamin, in noting the achievement of film to extend our scientific comprehension of reality, also notes in the same breath that film ‘bursts our prison world asunder by the dynamite of a tenth of a second, so that now, in the midst of its far-flung ruins and debris, we calmly and adventurously go travelling’. And it is here, in this transgressed yet strangely calm new space of debris, that a new violence of perception is born of mimetically capacious machinery 1
