Grundhammer continues her commitment by playing with the effects of film editing to create the "chock" effect to which our eyes have become so accustomed. 

The term "choc" (also: "chock") entered cultural theory at the end of the 1930s through Walter Benjamin's investigations into the work of Charles Baudelaire. For Benjamin, the big city experience, as conveyed in Baudelaire's literature, is characterised by its chock-like nature: the speed of traffic in particular determines the perception and rhythm of life of city dwellers and ensures constant chock experiences. In contrast, Benjamin sees the stimulus protection (a psychological mechanism borrowed from Freud's "Beyond the Pleasure Principle") at work, which is intended to prevent the flooding with overly strong stimulus signals (chocks). In his essay on artworks, Benjamin transfers this concept to a theory of the effects of film montage: the constant change of images and shots puts the viewer in a state of constant chocking. Film thus becomes a repetition and cultural practice of the modern gaze: "Film is the art form that corresponds to the increased danger to life that today's people have to face. The need to expose oneself to choc effects is an adaptation of people to the dangers that threaten them" (Benjamin). Choc theory has become significant for the development of aesthetic theories of affect and is applied, for example, in Karl-Heinz Borcher's reflections on "suddenness".

Literatur: Benjamin, Walter: Über einige Motive bei Baudelaire. Und: Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Beide in: Schriften. I,2. Frankfurt: Suhrkamp 1991, S. 605-654 u. S. 471-508.