1-4:

The essence of this article is that technological reproduction has completely changed the face of art; it has removed the aura and authenticity from pieces. Reproductions, unlike traditional art, do not have a "unique existence in a particular place." These reproductions have none of the history that classic art has, such as changes over time or changes in ownership.

11:

This chapter focused on the challenge that faces the film actor. An actor is actively performing for (usually two) pieces of equipment. The film actor is said to face a void because he is stripped of their body and reality. They act with all of their person, but the screen causes them to lose their aura, because the aura is bound to the here and now. Stage actors, conversely, retain their aura because they perform directly for an audience. When you think about it, a film actor has their performance split up into different performances that can be re-shot, and then are merely assembled. The article points out that a fall from a window could have the exit from the window filmed weeks apart (or miles apart) from the fall itself. Many false stimuli could be present on the set, and edited out much later. Authenticity and aura are robbed from the technological reproduction that is a film.