The article proposes an overview of the dialectics between the mimetic and the constructive in Theodor Adorno’s Aesthetic Theory. This elaboration will be used to present the article “Transparencies on Film”, in which the author discusses the specificities of this medium and the possibilities of resistance that it presents as a work of art in the Cultural Industry. One of the central aspects in this debate is the claim of immediacy and verisimilitude of the photographic, which, at first, would inhibit the constructive possibilities of the work, a fundamental issue for the conceptual architecture of the Adornian Aesthetic.
Art Objects; Modernism; Film; Dialectics; Mimesis; Critical Theory