Abstract
What would it mean to read Walter Benjamin's theory of film in conjunction with his writings on language? If upon first glance this question appears unusual, even extravagant, it is because one typically associates film with the visual realm-all theoretical investigations into film sound notwithstanding. Nor does it help matters that scholarship has inadvertently obscured certain continuities running throughout Benjamin's works by separating them into an early theological period and a later Marxist one. Finally, there is also a sense in which a considerable obstruction to reconsidering Benjamin's theory of film comes from Benjamin himself-specifically from his tendency to invoke the language of pictures, images, and vision (profane illumination, dialectical image, and so on).' Yet his writings on film and photography,
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