During the early 20th century, advances in cinema and the aviation served to challenge the perspectives and traditional expectations of society. Similar to leading cinematographers of the time, aviators immersed themselves in a new reality replete with a barrage of new perspectives and unique points of view. Airborne combat challenged the traditional field of vision experienced throughout human history; pilots were exposed to magnificent panoramas and quickly shifting points of focus. New techniques in aviation such as Manfred von Richthofen's "flying circus" served to shatter traditional ocular experiences. As a result, many pilots later left the field of combat to join the film industry. Pilots such as Roland Toutain and Howard Hawks helped instill the lessons derived from their experience as combat pilots into the annals of the film industry. Aviators unique experiences and exposure to heterogenous fields of perception allowed them to further enrich the mobility and disappearance aspect of film. These aspects heavily contributed to the Avante Garde movement of pursuing non - linear spatial temporal continuity in film.

In this portion of the text, Benjamin highlights one of the most prominent ideas of the text. Benjamin believes that art is centered around two different values, the value of cult and the value of exhibition. As art becomes more reproducible the veil of authenticity declines, consequently, the influence of ritualistic observance of art declines. Moreover, as artistic production becomes easier to reproduce the greater the influence of political direction takes hold. Reproducible works of art lack an essential aura that cultivate ritualistic observance of purely authentic works. As a result, reproducible works can be cultivated to deliver a specific message to the masses, thus, inherently vulnerable to political machinations.