The Frankfurt scholars concerned themselves with the impact of art and culture that Marx himself had overlooked in his writings, in particular, the relationship between reception of art and culture and its influence on political climate. There has always been a gap between those who digest “mass’ culture and those who are preoccupied with “high’ culture; and the influence of these two types of art is what interested people such as Adorno, Benjamin, Kirchiemer, and Fromm. The debate that arose posed many questions for these thinkers as Arato describes; “Is there more ‘truth’ latent in the ideologies of high culture or in those of ‘mass’ culture? Should the critics concentrate on ‘works,’ or on the production and reception of ‘products’? Are politically radical works more or less critical of the existing world than autonomous works? (Arto and Gebhardt, 1978, p188) This essay will look at the debate within the school itself over these issues and apply its theory to perhaps the most consumed art form of the modern age, film.In his 1936 essay The Work of Art in the age of Mechanical Reproduction, Walter Benjamin notes that works of art have been produced and distributed en-masse thanks to the developments of various technological processes including lithography and photography. Further more the development of technology that allows mass production of art has led to the development of art that is specifically designed to be consumed en-masse. For example, the making of a film is a costly and timely business. Unlike a painting than can only be regarded by a few people at a time or a book that can only be read by one person at a time, the film is made with the intention of been screened to a large number of people at once. The screening of a film is a shared cultural experience, a film is designed to be seen and understood by a collection of people simultaneously who may then ponder and discuss its meaning at will. Many prints are reproduced and distributed throughout many territories to reach the widest possible audience.