The antithetical reading of Benjamin`s Slapstick also offers a decisive understanding of the genre, as it moves through time through history in the present and into space, while it becomes a generic global form. Benjamin understood that mitigating slapstick violence always retains at the same time the violence it is supposed to relieve, as well as the fascist potential it could reduce. Although funny, Slapstick is also disturbing, the vulnerability of a subject to harm in the same breath shows that it proposes to solve it. It imitates the systemic hostility it wants to undo with a revolutionary conversion. According to Hansen, Benjamin believed that “the alienation of the senses, which rejects the deadly violence of imperialist war and fascism, can only be reversed in the field of technology itself, thanks to new reproductive media that allow collective and playful innervation (i.e. non-lethal). 11 The innervation proposed here, “a mode of adaptation, assimilation and integration of something foreign and foreign to the subject”12, is contrary to the Freudian introjection. Neurophysical rather than psychological, innervation is more mechanical, allowing an instrumental vision of the type of internalization it describes. As a result, comic book characters, as Benjamin wrote in Moliére, represent no less “the inner life of man, which is understood empirically” rather than “the brilliance of a unique characteristic that does not allow anyone else to remain visible near him.” 13 In the case of slapstick, the unique feature of the comic, especially in the Chaplin model that Benjamin had in mind, Benjamin always highlights a link between violence and technology, which comic performance, by going back and forth between them, emphasizes – both the fact of their relationship and the ease with which slapstick rotates in both directions , between the cruelty of machines and the liberation of humour.
Through what we might call a circuit hunt, this scene promises slapstick conventions on the circulatory demands of free trade in the literally world trade environment, and invokes what Joshua Clover calls a “traffic struggle.” 33 Here, massive scale distribution serves as an increasingly desperate compensation for the decline in industrial production in formerly development-oriented economies, at a time when the certainty of this trade is beginning to unravel (Figure 2).34 The dramatic scene of the shipyard in the era of containerization is at its latest since Warner Brothers` Lethal Weapon 2 (1989) , which ends in the port of Los Angeles with a confrontation between heroes and apartheid something like a staple in Hollywood film. Millions of dollars in money for drugs.