Wittgenstein (Derek Jarman, 1993) DVDRip VOSE

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Reino Unido Wittgenstein (Derek Jarman, 1993) DVDRip VOSE

Mensaje por -V- » 21 Abr 2013 14:58

Desde Karagarga...
Wittgenstein
(Derek Jarman, 1993)

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Wittgenstein the Movie
  • The film was originally commissioned as part of a series of TV production about the life and work of philosophers, and a screenplay and script were written by Oxford literature scholar, Terry Eagleton. This was adapted by Jarman and Ken Butler, his associate director, when the British Film Institute made funds available for the production of a 75-minute feature film. Whereas the television film envisaged by Eagleton would have adopted a more conventional and naturalistic style with its interior and exterior scenes shot in Cambridge, Jarman's aesthetic approach coupled with the constraints of producing a feature film on a budget of just £300,000 (a familiar scenario for Jarman and his team), meant that the screenplay and script were changed to enable the entire film to be shot in the studio. These constraints contribute to a film that is characteristically Wittgensteinian in form and content.

    Although the film, like Monk's biography, aims to show how the philosophical work comes from the man, it does so as a drama, not as a documentary nor as a drama-documentary. and in fact resembles a stage play in form and appearance. Inevitably, then, Jarman's Wittgenstein is a dramatic character, not the documented figure that might be presented had someone come across old home movie footage of Wittgenstein. It is thus important that students of Wittgenstein's work do not become too much in thrall to the cinematic personage; that they do not, as one put it, fall prey to a "cult of the personality" and thereby lose their ability to critically analyse Wittgenstein's philosophical ideas. The personage is, however, very closely traced from the portrait of Wittgenstein that is finely detailed in Monk's widely acclaimed and frequently cited biography. While remaining a dramatic construction, it is, as far as one can tell, a truthful portrayal that neither caricatures nor understates its subject.

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    Although basically chronological —its pretitle sequence displays a schoolboy Wittgenstein at a writing desk recounting his family background; its final scenes take place at Wittgenstein's deathbed— the film does at times play with the details of his life and work. This is only to be expected, for one must bear in mind and emphasise to one's students that Jarman's task was to "turn philosophy into cinema." For example, the well-documented incident in which Italian economist Pietro Sraffa demonstrated the Neapolitan gesture of brushing one's chin with the fingertips that (apparently) motivated Wittgenstein to give more thought to the theory of meaning developed in his Tractatus is portrayed in the film by the dramatic device of three young women making conmptuous V-signs at Wittgenstein in the street. The incident serves Jarman's aim of showing Wittgenstein as an outsider within Cambridge academic society, but its philosophical import is not lost. What Wittgenstein viewed as the need for a theory of meaning to take anthropological stance —looking at what language users say and do with language, closing the gap between theory and practices— is perspicuously demonstrated, as is Wittgenstein's likely despair at finding that "I have spent most of my life groping down a blind alley."

    The play-like feel and appearance of the film derives largely from Jarman's use of colour against a black drape. Where Wittgenstein is dressed always in more or less the same grey academic garb, the Cambridge characters shine out against the black, dressed in brightly coloured clothes —a scarlet cloak for Russell, purple waistcoat for Keynes, a green ostrich feather hat for Russell's lover, Lady Ottoline Morell—. As Jarman puts it in his introduction to the film script, "Grey Ludwig and dotty Cambridge, friends in High Key." Whilst the entire film is suffused with Wittgensteinian ideas, it also includes many explicitly philosophical moments. These divide into roughly two types, reflecting some of the variety of devices Wittgenstein used in the practice of philosophy: seminar scenes in which Wittgenstein the teacher develops his ideas and students and colleagues endeavour to engage with them, and reminders which Jarman assembles for the audience, similar to the devices Wittgenstein's writing contains, that guide the reader's recollection of the pretheoretical use and therefore meaning of language.


    Referencia
    BOWELL, TRACY: «Making Manifest: Viewing Wittgenstein's Philosophy through Derek Jarman's Lens». Teaching Philosophy, 2001, 24:2, pp. 133-142. Disponible en: Research Commons @ Waikato.

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File Name .........................................: Wittgenstein (Derek Jarman, 1993) DVDRip [BFI-kg].avi
File Size (in bytes) ............................: 939,704,320 bytes
Runtime ............................................: 1:09:11

Video Codec ...................................: XviD ISO MPEG-4
Frame Size ......................................: 720x432 (AR: 1.667)
FPS .................................................: 23.976
Video Bitrate ...................................: 1626 kb/s
Bits per Pixel ...................................: 0.218 bpp
B-VOP, N-VOP, QPel, GMC.............: [], [N-VOP], [], []

Audio Codec ...................................: 0x0055 MPEG-1 Layer 3
Sample Rate ...................................: 48000 Hz
Audio Bitrate ...................................: 172 kb/s [2 channel(s)] VBR
No. of audio streams .......................: 1
 
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Re: Wittgenstein (Derek Jarman, 1993) DVDRip VOSE

Mensaje por oskib » 21 Abr 2013 15:25

A seguir conociendo el cine de Derek Jarman. Gracias, V.

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