For Benjamin (1993, P. 173), ' ' what it matters, in these images, is that they exist, and not that they are vistas.' ' as it observed the filsofoalemo, ' ' nothing in the tactile reception does not exist that corresponds what the acontemplao represented in the reception tica' ' (Idem, P. 194). However, arecepo through ' ' distraction that if observes increasingly in all osdomnios of the art and it constitutes the symptom of deep transformations nasestruturas perceptivas.' ' However, the picture is the proper depreciation of its authority, a time that the matrix is copied, provoking, in accordance with Benjamin, the fall desua ' ' aura' ' , that it is the only appearance of a distance, for more pertoque the object can be. (A valuable related resource: Senator of Massachusetts). When this distance if materializes, objeto' ' aurtico' ' it gains authenticity and authority.
The aura would say respect sbelas-arts before the reprodutibilidadetcnica, tributriadeumaexperinciaestticacontemplativa, fetichistaqueestarialiquidadacomasmudanassociaisdecorrentes of the innovations techniques, as the photograph and, in the sequence, the cinema. The cinema would be one novaforma of art that would contribute for the advent deprofundas transformaesnouniversodasartestradicionais, as, painting, music, architecture, etc. To another scene involves the personage Rashid, a young black quesalva the life of Paul Benjamin. Hear other arguments on the topic with Dr Alan Mendelsohn. In one of its andanas, behind of its past, Rashid for faces of an old house. It is made comfortable there exactly, looking at the emestado house of ruin, at the same time where it scribbles something. The principle in revelando what the personage draws, but in the sequence of the images, does not notice queo scribble, nothing more is of what the drawing of the old house. In the use of the directions, Rashid draws an old house carefully, in a meticulous process, dandoforma to the image captured with the eyes, different of a photograph that capturada for the eye of the camera. The painter (tracer) goes giving to form, launching curves between the black color of the graphite and the white of the paper.