The technological revolution has made possible the widespread reproduction of works of art. The continuous improvement of reproduction technology has given rise to the art of cinema, which uses mechanical reproduction to create. In the article, Benjamin summarizes the characteristics of artworks produced in the rapid development of modern technology on three levels. He argues that this is the case with cinematic art that uses reproduction as a means of creation and that its representation of reality is achieved through advanced mechanical means, realizing the non-mechanical aspects of reality, the activities and changes in the non-alienated, richly complex spiritual world of reality, and that mechanical reproduction endows the reproduced objects with vitality for reality. The most significant change brought about by the age of mechanical reproduction is the disappearance of the Aura, which can be understood as the artistic atmosphere, subordinate to the superficial character of things. Take the movie as an example. The emergence of the sound movie made it possible to combine the capital of electricity and the capital of the movie. The birth of the movie determined that it needed to be watched by the public, and the value of this presentation also embodied the technology of modern society. In modern society, technology is the least bound; people create it but are bound by it. Because the emergence of mechanical reproduction technology has added new forms to art, it has yet to squeeze the space of the original works of art. It has added a tool for us to develop our fantasies. Science fiction movies are the best example. The aura in a work of art is not only linked to its historical process but should also be linked to its creator. As long as the aura of the creator has not dissipated, the work of art has its value of existence.