El desquite del oficinista, según Walter Benjamin:
“To perform [el actor de cine] in the glare of arc lamps while similtaneously meeting the demands of the microphone is a test performance of the higher order. To accomplish it is to preserve one’s humanity in the face of the apparatus. Interest in this performance is widespread. For the majority of citydwellers, throughout the workday in offices and factories, have to relinquish their humanity in the face of an apparatus. In the evening these same masses fill the cinemas, to witness the film actor taking revenge on their behalf not only by asserting his humanity (or what appears to them as such) against the apparatus, but by placing that apparatus in the service of his triumph” (111).
