READING BENJAMINIANA: BETWEEN THE EYE AND THE OBJETOFANTASMAGRICO, THE CLICK OF THE FINGER. Adriana Soares de Souza 1 Introduction Our rented coffees and our streets, our offices and nossosquartos, our stations and our plants appeared to imprison-nosinapelavelmente. (Benjamin, 1993) Breaking itself of a benjaminiano look, the objective destetrabalho is to try to present a possible reading enters a system of linguagemcaracterstico of the literary expression, a story of Clarice Lispector to menormulher of the world 2, and other, characteristic of the expressocinematogrfica, a film of Paul Auster 3 smoke Curtain. In this manner, the object of this work is configured in two ' ' tipos' ' different, even so the complex relations between literature and cinema are mltiplase, characterized for one strong intertextualidade: one produto of an art that if it uses of the written word, and the other, of images. importante that if says that, the new way to see the world and to represent it seinstaurou from the invention of the camera, either the literary ones as the romance or the story, are the formasvisuais, as the cinema and the television direct or is indiretamentearticuladas in secular sequences, does not matter if linear, if truncated, inverted or interpoladas.’ ‘ 5 However, if the time in literature sedistingue of the space, in the cinema ‘ ‘ the time, that is invisible, is filled as busy space for sequences of images visveis’ ‘ 6, that is, noocorre the inseparabilidade of time and space, a time that one does not exist without the other. Made the exceptions, I will initiate the work with the Benjaminiana vision on ascausas and consequences with> advent of the techniques of reproduction and, naseqncia, the imaginary world of the cinema; a possible reading of the images dofilme e, finally, a possible reading of the story: one to look at marketing dojornal. ' ' Techniques of reproduction: Benjaminiana vision In the assay the work of art at the time of suareprodutibilidade Benjamin technique goes to revitalize, exactly, percepoe the experience, or still, the central point of this study meets naanlise of the causes and consequences of the destruction of ' ' aura' ' queenvolve the works of art, while only objects.