{'fraction_non_alphanumeric': 0.012129380053908356, 'fraction_numerical': 0.005390835579514825, 'mean_word_length': 4.991935483870968, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Max Ophuls and Instant Messaging

This chapter explores the public character of film and is informed by the ideas of Jürgen Habermas, Alexander Kluge, and Oskar Negt about the public sphere, Öffentlichkeit in German. It takes as its prime example the 1932 film Liebelei, by the Austrian director Max Ophuls, whose opening scene it interprets as a paradigm of the visuality and relay of gazes made possible by classical cinema. The author argues for the necessity of reformulating the thesis of Walter Benjamin about the reproducibility of the artwork to account for the contemporary digital media environment. The chapter concludes with speculation about the future of film exhibition and its survival as a form of sponsored or niche culture.