Introduction: “The Author As Producer” by Walter Benjamin
“The Author as Producer” by Walter Benjamin was first published in 1934 as part of the collection Understanding a Work of Art. This groundbreaking piece significantly impacted the fields of literature and literary theory by challenging traditional notions of authorship and the relationship between art and society. Benjamin argued that authors should not be passive creators but active participants in the production of culture, aligning themselves with progressive political movements and using their work as a tool for social change. His essay has had a lasting influence on critical theory and continues to be a vital text for understanding the intersection of art, politics, and society.
Summary of “The Author As Producer” by Walter Benjamin
- The Role of Writers in Society: Benjamin begins by referencing Plato’s view on writers, emphasizing that “Plato had a high opinion of the power of literature” but considered it harmful in a perfect society. He relates this to the modern debate on a writer’s autonomy, where writers must decide “in whose service he wishes to place his activity,” reflecting on the socio-political obligations of writers.
- Political and Literary Tendency: Benjamin argues that a work’s political correctness is tied to its literary quality, asserting that “the tendency of a work of literature can be politically correct only if it is also correct in the literary sense.” He critiques the superficial notion of ‘commitment’ in literature, suggesting that political commitment must be integrated with literary innovation.
- Literary Technique as a Means of Analysis: Benjamin shifts focus to the importance of literary technique, stating that it provides a “dialectical starting-point from which the sterile dichotomy of form and content can be surmounted.” He contends that the literary tendencies in a work, whether progressive or regressive, are crucial in evaluating its political and social relevance.
- The Intellectual’s Position in the Class Struggle: Benjamin emphasizes that the intellectual’s role in the class struggle is determined by their position within the production process. He highlights the difference between “merely supplying a production apparatus and changing it,” criticizing those who, even with revolutionary content, fail to challenge the existing bourgeois apparatus.
- Critique of New Objectivity and Reportage: Benjamin critiques the New Objectivity movement, particularly its use of reportage, noting that it has turned “the struggle against misery into an object of consumption.” He argues that this literary approach dilutes the political struggle into mere entertainment, thus failing to incite real change.
- The Need for an Educational Approach in Literature: Benjamin asserts that for a writer to have an organizing function, they must adopt “a teacher’s attitude.” He stresses the importance of producing work that can instruct other writers and involve the audience as collaborators, citing Brecht’s epic theatre as an example of how to transform the production apparatus into a more inclusive and revolutionary tool.
- Epic Theatre and Its Revolutionary Potential: Discussing Brecht’s epic theatre, Benjamin praises its ability to “disclose conditions” by interrupting dramatic processes, thereby forcing the audience to reflect critically. He contrasts this with the modish techniques of the time, emphasizing that the epic theatre “exposes the present,” turning it into an opportunity for social change.
- Conclusion: Reflective Solidarity with the Proletariat: In concluding, Benjamin insists that the only demand on writers is “to think, to reflect upon his position in the production process.” He argues that this reflection will naturally lead the best writers to “confirm very soberly their solidarity with the proletariat,” aligning their work with the broader goals of social transformation.
Literary Terms/Concepts in “The Author As Producer” by Walter Benjamin
| Literary Device or Concept | Explanation | Example from the Text |
| Dialectical Materialism | A philosophical approach that emphasizes the material basis of society and the role of class struggle in shaping history. | “Social relations, as we know, are determined by production relations.” |
| Class Struggle | The conflict between different social classes, particularly the bourgeoisie and the proletariat, over the distribution of resources and power. | “He places himself on the side of the proletariat.” |
| Literary Technique | The methods and tools used by authors to create their works, including narrative structure, characterization, and language. | “This question concerns the function of a work within the literary production relations of its time.” |
| Montage | A technique used in film and other media to juxtapose different shots or scenes to create a new meaning or effect. | “Brecht, in his selection and treatment of gestures, simply uses the method of montage.” |
| New Objectivity | A literary and artistic movement that sought to depict the world in a realistic and objective manner, often focusing on the everyday life of ordinary people. | “It launched the fashion for reportage.” |
| Epic Theater | A form of theater developed by Bertolt Brecht that aims to alienate the audience from the characters and events on stage, encouraging them to think critically about the issues being presented. | “Epic theater does not reproduce conditions; rather, it discloses, it uncovers them.” |
| Author as Producer | A concept that suggests that authors should not be passive creators but active participants in the production of culture, aligning themselves with progressive political movements and using their work as a tool for social change. | “The Author as Producer” is the title of the essay. |
| Commitment | A political stance that involves actively working towards a particular goal, often in support of a social or political cause. | “The concept of commitment…is a totally inadequate instrument of political literary criticism.” |
Contribution of “The Author As Producer” by Walter Benjamin to Literary Theory/Theories
Marxist Literary Theory:
- Integration of Political and Literary Criticism: Benjamin emphasizes that a work’s political correctness must be intertwined with its literary quality. This challenges the simplistic notion of ‘commitment’ in Marxist criticism, pushing for a deeper integration of political and aesthetic analysis.
- Role of the Intellectual in the Class Struggle: He redefines the intellectual’s role by arguing that they must actively change the production apparatus, not merely supply it. This aligns with Marxist views on the need for revolutionary change in cultural production.
- Critique of Bourgeois Production Apparatus: Benjamin critiques the bourgeois production system for its ability to assimilate revolutionary themes without challenging the status quo. This critique expands the Marxist understanding of how culture and literature can be co-opted by capitalist systems.
Critical Theory (Frankfurt School):
- Critique of Cultural Commodification: Benjamin’s analysis of New Objectivity and reportage as turning political struggle into consumable entertainment reflects the broader Frankfurt School critique of cultural commodification and the manipulation of art by capitalist industries.
- Educational Function of Art: The idea that literature should educate both writers and audiences aligns with the Frankfurt School’s emphasis on the educational and emancipatory potential of art. Benjamin’s focus on turning readers into collaborators reflects critical theory’s aim to foster critical consciousness.
- Challenge to Artistic Autonomy: Benjamin challenges the notion of artistic autonomy by arguing that writers must align their work with political movements, particularly the proletariat struggle. This prefigures postmodern critiques of the autonomous artist and the myth of individual genius.
- Montage and Fragmentation: His discussion of Brecht’s epic theatre and its use of montage techniques prefigures postmodern aesthetic strategies that favor fragmentation and the disruption of narrative continuity to expose underlying social conditions.
Formalism and Structuralism:
- Focus on Literary Technique: Benjamin’s emphasis on literary technique as a key component of a work’s political and social relevance ties into formalist and structuralist concerns with how the form and structure of a text contribute to its meaning and impact.
- Surmounting the Form-Content Dichotomy: By proposing that literary technique can overcome the sterile dichotomy of form and content, Benjamin contributes to the structuralist view that meaning arises from the interplay between form and content within a text.
Cultural Studies:
- Art as Social Production: Benjamin’s argument that the position of a work within the social relations of production determines its function contributes to cultural studies’ focus on understanding cultural artifacts as products of specific social, economic, and political contexts.
- Audience Participation in Production: His call for literature to involve readers as collaborators resonates with cultural studies’ interest in how audiences interact with and co-create cultural meanings.
Political Aesthetics:
- Aesthetics of Production: Benjamin’s emphasis on the role of literary production within broader social processes contributes to the field of political aesthetics, which explores the relationship between art and political life. He advocates for an art that not only represents political struggles but also actively participates in them by transforming the apparatus of cultural production.
Examples of Critiques Through “The Author As Producer” by Walter Benjamin
| Literary Work | Critique Based on “The Author as Producer” |
| Gone Girl by Gillian Flynn | Flynn’s novel, while exploring themes of gender and societal expectations, could be criticized for its portrayal of violence against women and its ultimately ambiguous ending, which some might argue reinforces harmful stereotypes. Benjamin might suggest that the novel could have been more politically effective if it had offered a clearer condemnation of violence and a more empowering ending for the female protagonist. |
| The Great Gatsby by F. Scott Fitzgerald | Fitzgerald’s classic novel, often praised for its exploration of the American Dream and the excesses of the Jazz Age, could be criticized for its romanticization of wealth and its ultimately tragic portrayal of the protagonist, Jay Gatsby. Benjamin might argue that the novel could have been more politically relevant if it had focused on the social and economic inequalities that contributed to Gatsby’s downfall, rather than simply presenting him as a tragic figure. |
| 1984 by George Orwell | Orwell’s dystopian novel is often praised for its prescient warnings about totalitarianism and surveillance. However, Benjamin might criticize the novel for its pessimistic worldview and its lack of a clear vision for a better future. He might suggest that the novel could have been more politically effective if it had offered a more hopeful message about the possibility of resistance and change. |
| The Handmaid’s Tale by Margaret Atwood | Atwood’s dystopian novel is often praised for its powerful portrayal of gender inequality and the dangers of authoritarian regimes. However, Benjamin might criticize the novel for its focus on individual suffering and its lack of a clear political program for resistance. He might suggest that the novel could have been more politically effective if it had offered a more concrete vision for overthrowing the oppressive regime and creating a more just society. |
Criticism Against “The Author As Producer” by Walter Benjamin
Overemphasis on Political Commitment:
- Reduction of Artistic Autonomy: Critics argue that Benjamin’s insistence on aligning literary production with political commitment diminishes the value of artistic autonomy and creativity, potentially stifling the diversity of literary expression.
- Narrow Definition of Revolutionary Art: Some criticize Benjamin for limiting revolutionary art to works that directly engage with and aim to transform the production apparatus. This view is seen as restrictive, excluding other forms of politically significant art that may not fit his criteria.
Idealization of the Proletariat:
- Simplification of Class Struggle Dynamics: Benjamin’s focus on the proletariat as the primary agent of revolutionary change is criticized for oversimplifying the complex dynamics of class struggle and the roles of other marginalized groups or classes in revolutionary movements.
- Neglect of Individual Subjectivity: His emphasis on collective production over individual expression is seen by some as neglecting the role of individual subjectivity and the personal dimensions of literary creation.
Critique of Formalism:
- Dismissal of Form-Content Dichotomy: Critics from a formalist perspective may argue that Benjamin too hastily dismisses the form-content dichotomy, thereby overlooking the importance of purely formal innovations in literature that can have their own aesthetic and political value independent of content.
Practicality of Changing the Production Apparatus:
- Utopian Expectations: Benjamin’s call for writers to not only supply but also change the production apparatus is criticized as utopian and impractical, given the entrenched power structures within the cultural industry that are resistant to change.
- Challenges in Implementation: Critics highlight the difficulties writers face in actually transforming the production apparatus, particularly in contexts where access to publishing and production is controlled by capitalist interests.
Ambiguity in Defining Correct Political and Literary Tendencies:
- Vagueness of Criteria: Some argue that Benjamin is vague in defining what constitutes a “correct” political and literary tendency, leaving room for subjective interpretation and potential misuse of these criteria to exclude or marginalize certain works.
- Risk of Dogmatism: The emphasis on political correctness in literature raises concerns about the potential for dogmatism, where literary works might be judged more for their political alignment than for their artistic merit.
Potential for Co-Optation by Power Structures:
- Underestimation of Capitalist Adaptation: Benjamin’s critique of the bourgeois production apparatus is seen by some as underestimating the ability of capitalist systems to co-opt and neutralize even those literary works that attempt to challenge them, thereby questioning the effectiveness of his proposed strategies.
Suggested Readings: “The Author As Producer” by Walter Benjamin
Books:
- Benjamin, Walter. Understanding a Work of Art. Trans. Jack Zipes. University of Chicago Press, 1994.
- Benjamin, Walter. Selected Writings: Volume 2: 1935-1938. Trans. Rodney Livingstone. Belknap Press of Harvard University Press, 1999.
- Jameson, Fredric. The Political Unconscious: A Narrative Approach to Cultural Analysis. Cornell University Press, 1981.
- Zipes, Jack. Walter Benjamin: A Critical Life. University of California Press, 2009.
Academic Articles:
- Adorno, Theodor W. “Walter Benjamin and the Dialectic of Enlightenment.” New German Critique 17 (1979): 3-10.
- Benjamin, Walter. “The Storyteller.” Illuminations. Trans. Harry Zohn. Schocken Books, 1969.
- Jameson, Fredric. “Walter Benjamin or the Dialectics of Enlightenment.” New Literary History 12.3 (1981): 427-447.
Representative Quotations from “The Author As Producer” by Walter Benjamin with Explanation
| Quotation | Explanation |
| “The tendency of a work of literature can be politically correct only if it is also correct in the literary sense.” | Benjamin argues that for literature to be politically effective, it must also be artistically sound. He emphasizes that political and literary tendencies are intertwined, challenging the notion that political content alone can validate a literary work. |
| “The place of the intellectual in the class struggle can only be determined, or better still chosen, on the basis of his position within the production process.” | This quotation emphasizes the need for intellectuals to understand their role within the broader social and economic structures of production. Benjamin asserts that an intellectual’s position in the class struggle is defined by their relationship to the means of production. |
| “To supply a production apparatus without trying, within the limits of the possible, to change it, is a highly disputable activity.” | Benjamin criticizes writers who contribute to existing production systems without challenging or attempting to change them. He argues that revolutionary content is insufficient if it does not also aim to transform the apparatus that produces and disseminates literature. |
| “The correct political tendency of a work extends also to its literary quality: because a political tendency which is correct comprises a literary tendency which is correct.” | This reinforces Benjamin’s thesis that political and literary correctness are inseparable. He insists that a work’s political effectiveness is contingent upon its artistic integrity, highlighting the importance of literary form and technique in achieving political objectives. |
| “Epic theatre does not reproduce conditions; rather, it discloses, it uncovers them.” | Benjamin praises Brecht’s epic theatre for its ability to reveal underlying social conditions rather than simply depicting them. This approach compels the audience to engage critically with the content, disrupting passive consumption and fostering active reflection. |
| “A writer who does not teach other writers teaches nobody.” | This quotation underscores the educational role of writers. Benjamin suggests that for a writer to be truly impactful, they must influence and instruct other writers, thereby contributing to the broader literary and political discourse. |
| “New Objectivity has turned the struggle against misery into an object of consumption.” | Benjamin criticizes the New Objectivity movement for commodifying political struggle, transforming it into a spectacle rather than a catalyst for change. He argues that this approach neutralizes the revolutionary potential of art by making it a subject of passive consumption. |
| “What we must demand from the photographer is the ability to put such a caption beneath his picture as will rescue it from the ravages of modishness and confer upon it a revolutionary use value.” | Here, Benjamin highlights the importance of contextualizing artistic works to preserve their revolutionary potential. He argues that without proper context, even radical images can be stripped of their meaning and turned into mere objects of fashion or consumption. |
| “Commitment is a necessary, but never a sufficient, condition for a writer’s work acquiring an organizing function.” | Benjamin acknowledges that while political commitment is essential for a writer, it alone does not suffice. A writer must also possess the skills to organize and mobilize their audience effectively, turning passive readers into active participants in the social struggle. |
| “The crucial point, therefore, is that a writer’s production must have the character of a model: it must be able to instruct other writers in their production.” | This quotation encapsulates Benjamin’s belief that literature should serve as a model for others. A writer’s work should not only convey ideas but also demonstrate new methods and techniques that other writers can adopt and adapt, thereby advancing the overall literary and political project. |