关键词: 散心, 本雅明, 早期电影技术, 注意力, 克拉里

Abstract: Walter Benjamin's and Jonathan Crary's respective understanding of the concept of "Zerstreuung" is in sharp contrast to each other. Benjamin detects not only a connection between "Zerstreuung" and the bourgeoisie in the capitalist entertainment industry, but also an unconscious collusion between "Zerstreuung" and the public in the early film technology. Such collusion has created a state of "Jetztzeit" for the audience by using the technique of montage in film, so that the audience could reconstruct their historical consciousness, which is transformed into a collective experience from that of the individual, thus assigning early cinema with the potential of politicizing aesthetics. In contrast, Crary's understanding of the concept of "Zerstreuung" falls into a type of judgment with presupposed values of linearity, which historicizes the concept of "attention", whereas refers to "Zerstreuung" as only a part of modern production integral to the concept of "attention".

Key words: Zerstreuung, Walter Benjamin, early film technology, attention, Jonathan Crary