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By Béla Szabados, Christina Stojanova

Ludwig Wittgenstein enjoyed videos, and in line with his comments on observing them, there's a robust connection among his adventure of observing movies and his innovations on aesthetics. in addition, although, Wittgenstein himself has been invoked in contemporary cinema. Wittgenstein on the video clips is founded on in-depth explorations of 2 exciting experimental motion pictures on Wittgenstein: Derek Jarman's Wittgenstein and Péter Forgács' Wittgenstein Tractatus. The featured essays examine cinematic interpretations of Wittgenstein's existence and philosophy in a way certain to impress the vigorous curiosity of Wittgenstein students, movie theorists, and scholars of movie aesthetics. in addition, the e-book engages a broader viewers inquisitive about philosophical matters approximately movie and Wittgenstein's cultural value, with the area of fin-de-siècle Vienna, of Cambridge within the first half the 20th century, of creative modernism.

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My Wittgenstein, or that of any other writer or filmmaker, never existed. But I should leave Wittgenstein himself with almost the last word. “Work on philosophy—like work in architecture in many respects—is really more a work on oneself. On one’s own interpretation. On one’s own way of seeing things” (Wittgenstein 1998, 24). So too, work on a film script about someone’s life is also, most probably, more a work on oneself, on one’s own way of seeing things. BIBLIOGRAPHY Hornby, Nick. ” Daily Telegraph, online 23 October 2009.

02), is followed by footage of a young woman, and then a dog playing with a child. Dogs and people (and their lives), however, are undeniably compound, at least for the author of the Tractatus. The child and dog do not directly elucidate Wittgenstein’s thesis. They are in what I called a loose association with the thesis that they presumably reflect. For my immediate purposes, what offers the most telling contrast to Jarman’s film is Forgács’s use of color. ” The touch of burnt-brown, oddly enough, makes the B&W films look even older and more faded than they are, while at the same time making them warmer and easier to view.

Do you need anything? Wittgenstein briefly turns towards her and shakes his head, indicating a “No,” then turns back to his writing. She turns away, takes a few steps towards the back door, but then turns back and approaches Wittgenstein again. Do you like my coat? Wittgenstein Wittgenstein turns his body towards her and, after carefully scrutinizing her coat, says in a quiet authoritative voice. Fetch me a scissors, Mrs. Bevan. Mrs. Bevan goes inside the house and returns with a scissors. Wittgenstein takes the scissors.

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