本文站在班雅明論述的基疏h，探討自七〇年以來，資本主義危機 中再結構的文化工業樣貌與策略，並從數位影像副本的處疑產權、數位 媒體閲聽眾的虛擬剝削、數位內容生產的虛擬網絡、數位超真實文本的 虛擬效果等四層面，分析數位複製時代中文化工業處心積慮重塑的靈 光。儘管文化工業構連靈光與資本主義的商品拜物觀，但在數位時代， 使用者仍然可能在放大放慢的影像內，看到結構矛盾，也有機會在無數 擬象間，操練預演更美好更民主的生活。

Based upon Walter Benjamin's critique of disappearing aura, this paper explores the morphogenesis of contemporary cultural industry and the strategies that have been employed to cope with the capitalist crises which have become more pronounced since the 1970s. The analysis reveals that, contrary to Benjamin's prediction, the aura of the cultural industry has not been taken shine off thanks to the emphasis on virtual property rights, to the virtual exploitation of audience, and to the virtual production network of digital content, and to the hyper-real effects of digital texts. The articulation of aura and commodity fetishism in the age of digital reproduction has, however, cracked open a space for democratic struggles regardless of the re-created distance between enchanted cultural works and the audience.