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维特根斯坦

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主演:卡尔·约翰逊,迈克尔·高夫,蒂尔达·斯文顿,莎莉·德克斯特,John Quentin,Kevin Collins,Clancy Chassay,Nabil Shaban,Lynn Seymour,Donald McInnes,吉尔·贝肯,nm0550561 Gina Marsh,Vanya Del Borgo,Ben Scantlebury,Howard Sooley

类型:电影地区:英国语言:英语年份:1993

 剧照

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 剧情介绍

维特根斯坦电影免费高清在线观看全集。
  这是一部现代风格的戏剧,介绍了生于维也纳,在剑桥读书的哲学家Ludwig Wittgenstein (1889-1951)的生平及思想。他的主要兴趣在于研究语言的本质与极限。  电影使用最简单的黑色背景,所有的投资都用在服装、演员以及灯光上,构图就像黑暗的启蒙主义绘画。Wittgenstein以一个小男孩的形象出现,他的少年时代很压抑,银幕上他的家人都身穿罗马人的宽外袍。一系列的小场景描述了他从小时候,到第一次世界大战,再到最终在剑桥当教授和Bertrand Russell以及John Maynard Keynes合作的生平。导演Derek Jarman使用了一些戏剧小品,还有富于想象力的小花招,比如出现了火星侏儒,来表现Wittgenstein的贵族举止,犹太背景,以及同性恋倾向。热播电视剧最新电影请叫我英雄2015聚光灯下的圣诞节九个女仔一只鬼神捕铁飞花之千里缉凶爱情万岁1994特瑞萨修女 下(国语版)这很河狸盒乐不为恋爱虽然麻烦但更讨厌孤独杀死汝伴惊吓24小时妻子的噩梦泰若星球LADY~最后的犯罪心理分析官~致命危机水井边的初恋穿越情欲海兵人公主自传公司里的小小前辈长夜危机独行天下 Poikkal Kuthirai异星战场戴洛奇小镇第一季新夏威夷神探第二季

 长篇影评

 1 ) 冰更冷


     听朋友说起人大教授余虹自杀的事,看到媒体象侦探似的反复追寻为何“一个学识渊博,正值学术研究壮年的人就以死了却一生”,终究没有找到确切的解释,有人甚至觉得于国家社会“这是一种不负责任的做法”。
 
     自杀,我以为除了生活极度压迫和科学家认为导致忧郁症的某种化学物质外,有些很难解释,象王国维、海明威...。自杀象埋在心里的一个种子,会发芽长大,直到把你笼罩湮灭。我想起刚看的电影《维特根斯坦》里最后说的一个故事(原文):
     曾经有个年轻人,他想把世界简化到纯粹的逻辑里。因为他非常聪明,也确实做到了。他在完成时,回首看着、欣赏着。一个非常美丽,摒除了不完美和不确定的新世界,象闪耀的冰面无边无际的延伸到天边。那个聪明的年轻人环视他所创造的世界,决定探索它。可是当他向前迈出第一步,立即摔倒了。你看,他忘了摩擦力。冰面平坦光滑,洁净无瑕,但是人无法在上面行走。聪明的年轻人坐在那里不禁流下心碎的眼泪。
     当他成长为一个智慧的老人时,他开始理解粗糙和混沌并不是缺陷,世界就是因此而运转。他想奔跑舞蹈,顿时语言失去光泽,模糊不清;世界支离破碎,散落一地。智慧的老人知道这就是事物的本来面目。但在他的内心依然怀念着那纯净的世界,那里的一切闪耀着纯粹的光芒。虽然他甚至已经日渐喜欢那坑坑洼洼的地面,但无法让自己在那里安顿下来。现在他在地面和冰面之间徘徊,哪里都不是他的归宿。这是他所有悲痛的来由。
 
     我想余教授大概是厌倦了这种旅人的疲惫。英国历史家艾伦-布劳克在《西方人文主义传统》中写道:“要想超乎人的状态是一种危险的诱惑。人若能学会接受自己的实际面目,就会快活一些,好过一些。”维特根斯坦说:“我真的很想写一本完全由笑话组成的哲学书,可惜的是我缺乏幽默感。”
 
     我骨子里也没有什么幽默感,不过刚收到一个礼物:一条织了两年的围巾,可以抵御些许冰的冷吧。

 2 ) 冰上行人

    曾经有个年轻人,他想把世界简化到纯粹的逻辑里。因为他非常聪明,也确实做到了。他在完成时,回首看着、欣赏着。一个非常美丽,摒除了不完美和不确定的新世界,象闪耀的冰面无边无际的延伸到天边。那个聪明的年轻人环视他所创造的世界,决定探索它。可是当他向前迈出第一步,立即摔倒了。你看,他忘了摩擦力。冰面平坦光滑,洁净无瑕,但是人无法在上面行走。聪明的年轻人坐在那里不禁流下心碎的眼泪。
  
  当他成长为一个智慧的老人时,他开始理解粗糙和混沌并不是缺陷,世界就是因此而运转。他想奔跑舞蹈,顿时语言失去光泽,模糊不清;世界支离破碎,散落一地。智慧的老人知道这就是事物的本来面目。但在他的内心依然怀念着那纯净的世界,那里的一切闪耀着纯粹的光芒。虽然他甚至已经日渐喜欢那坑坑洼洼的地面,但无法让自己在那里安顿下来。现在他在地面和冰面之间徘徊,哪里都不是他的归宿。这是他所有悲痛的来由。
  
  
  ---Derek Jarman <Wittgenstein>

 3 ) Philosophers and Queers

-Are you philospher?
-Yes, I am.
-Are you happy?
-......(slience)
-You know. You really shoul give it up.
 Get out while you still can.
That's what Wittgenstein tells Jonny at their fist meet.

-I'd quite like to have composed a philosphical work which consisted entirelly of jokes.
-Why didn't you?
-Sadly, I didn't have that sense of humour.
That's what Wittgenstein say when extremely close to death.

I love queers, especially handsome queers, like Wittgenstein. It's really pityful that the actor who plays him in the film isn't, but his lover, Johnny is. It seems that the image of philopher is always so crazy, miserable, misunderstandable. Well, maybe it's also the deep image of Derek Jarman himself. Queers are prodigies, who can't be understood by the world.

Why I chose the two diaglogue is that philosphers seem to be tradgic and philosphy is pretty ridiculous while we've been strongly attracted by it and can't help dying for it.

 4 ) Derek Jarman’s Personal Narrative

我很少看把电影看第二遍……但这部传记片实在是太有趣了。

对于大众来说为什么牛逼:
成本低,概念高。演员也都选得好
而导演Jarman也是很下功夫。当时几近失明的他,把维老他的人和他的思想都读透了。改写剧本时Jarman大胆想象,写成了这么一部轻松诙谐加自我调侃的同志哲人传记片。我就喜欢这种先锋的自我解读,而不是循规蹈矩走传统传记路线。


对于我个人来说为什么牛逼:
感情呈现的起乘转折的节奏把握得特别好。不乏感人的台词,尤其是结尾凯恩斯的那段独白比喻,听得心都融化了。
我和片中偏执地寻找『私人语言』维老有同感。时常在个人的孤独感中纠结与人交流时所遇到的困难。
他认为 解决这种孤独 尤其是哲人的孤独(brooding over its private experience) 的方式就是寻找公共语言
而完善这种语言的方式就是让所有人的逻辑体系都是理性的、一致的。
当有人对他做侮辱手势的时候,他开始意识到,人类的语言不可能完美。
他执着而天真 聪明而钻牛角尖 不爱都不行。

好吧其实是为了贴作业的,调研贾曼的两部电影
中心论点在第一段。。关于电影中的同志题材和场景设置

Derek Jarman’s Personal Narrative—Exploring Ludwig Wittgenstein and Michelangelo Caravaggio’s Brilliance and Queer Identities


As one of the best-known British queer directors, Derek Jarman produced several unique biopics of talented men tortured by their repressed homosexuality. Notably, Jarman started his career in feature film by working with Ken Russell, a director who reinvented the artist biopic by “introducing startling fantasy sequences and ostentatious camera movements.” Jarman continued Russell’s revolt against conventional realist representation of historical figures. Also using biopics as a form of documentation, Jarman has sought to reenact experience and thereby reconstruct affective relations. He identifies with brilliant queer men who are often too radical for their times. By portraying queer figures, Jarman interprets art and philosophy as well as repressed emotions and loneliness of queer men. Even during the conservative periods, Jarman’s nuanced films carried many provocative themes that were not only political but also highly personal. Caravaggio (1986) and Wittgenstein (1993) exemplify these aspects of Jarman’s individualistic, subjective approach. Jarman admits to strongly identifying with Wittgenstein: “I have much of Ludwig in me. Not in my work, but in my life.” Jarman has also stated in interviews that his artistic dilemmas are similar to those experienced by Caravaggio. This research paper attempts to capture the richness of Jarman's personal relationship with these two figures by discussing both films’ use of mise-en-scene and their thematic concern with queer identity.
Jarman engages with the lives of Wittgenstein and Caravaggio by referencing and paying homage to their work on a theoretical level. A painter and former set designer, Jarman emphasizes the use of mise-en-scene as substitute for literal narrative. In Jarman's films, staging and visual imagery are the most important qualities, while “narrative takes second place". While the lack of emphasis on logical narrative granted him more space to experiment, viewers with little knowledge of the characters are often confused. Jarman concentrates on constructing the plot around Caravaggio's paintings rather than his life and times. Critics have pointed out the absence of a clear narrative in Caravaggio. The characters and their relations to Caravaggio are unclear and sometimes misleading. Many supporting characters do not have presence in the plot that was fully distinct from their respective paintings. Yet Jarman believed he had to establish a unique perspective in order to capture Caravaggio’s dramatic “Hollywood template” life in a 90-minute film without resorting to clichés. Narrative ambiguity allows Jarman to “recreate many details of [his] life and, bridging the gap of centuries and cultures, to exchange a camera with a brush.” He interweaves the paintings with the plot with a painstakingly reworked script that involved 16 rewrites, as well as magnificent tableaux vivant production sets. Jarman focuses on Caravaggio’s emotions, sexuality, dreams and events surrounding the creation of his paintings, redefining the genre of the artist biopic. The paintings drive the narrative, and the consciousness depicted is not that of independently conceived characters but that of the artist himself, Jarman-Caravaggio.
As a lifelong painter, Jarman appreciates the narrative power of mise-en-scene and highlights it in the set designs for both films. Jarman is fascinated by Caravaggio’s use of chiaroscuro to create the illusion of depth. He praised Caravaggio for inventing cinematic light and the noir style shadowed backgrounds. Jarman pays homage to this technique through tightly controlled lighting effects. The tone and shade of the walls and skin color convey more about the scene than the script. In most scenes, Jarman meticulously replicates Caravaggio’s light sources, which usually come from the left and therefore elicits stronger responses from the viewers. Jarman attempts to show that the chiaroscuro is effective to capture intense emotions not only on canvas but also in film. He pays homage to Caravaggio by employing light and emphasizes the timelessness of classic art techniques.
While Jarman painted cinema like the artist Caravaggio, he also philosophized it, as expressed in the mise-en-scene of Wittgenstein. Jarman portrays Wittgenstein’s general estrangement from a painfully foreign world as a result of both his abstract philosophy and his difficulties accepting his sexuality. Jarman shows a world that appears absurd from Wittgenstein’s perspective: the highly stylized acting and flamboyant costumes of other characters contrast with Wittgenstein’s naturalistic acting and gray tweed jacket. Wittgenstein questions himself throughout the film: “How can I be a logician before I am a human being? The most important thing is to settle accounts with myself!” He travels across Europe, fighting in the Great War, teaching in a rural school, and escaping to Ireland or Norway to familiarize himself with the strange world, yet its meaning is still “problematic.” Wittgenstein, troubled by his sexuality, also wished to live an ethical life guided by strict logic. Yet this longing for perfection is disrupted by the messiness of life and the fickleness of passions.
Jarman places symbolic visuals in the biopic, which remind sophisticated audiences of “Wittgenstein’s epigrammatic style” of writing. Lady Ottoline paints Bertrand Russell on canvas as a red monochrome. When he wrote the script, Jarman also tried to understand Wittgenstein’s personal life by reading his books. Remarks on Colour provided him with cinematic context to relate to Wittgenstein’s ideas: “Remarks on Colour was a path for me back to the Tractatus [Logico-Philosophicus].” Furthermore, Jarman’s schematic use of color contrasts between the repression of private feelings and the expression of straightforward colors. "The black annihilates the decorative and concentrates so my characters shine in it like red dwarfs—and green giants. Yellow lines and blue stars”, Jarman references the schematic use of colors in Wittgenstein poetically. Jarman later wrote an entire book—Chroma— to show how colors are solely products of human interaction. In Wittgenstein’s words: “I think that it is worthless and of no use whatsoever for the understanding of painting to speak of the characteristics of the individual colours.” Through referencing Wittgenstein’s ideas on colors in the mise-en-scene as well as script text, Jarman pays homage to the philosopher. Jarman also successfully uses film medium to explore abstract theories and overcomes limitations of language.
Jarman engages with Wittgenstein and Caravaggio not only on a theoretical level but also reads into their personal struggles with homosexuality. Similar to abstract theories, Jarman’s Wittgenstein believed that homosexuality is an area that restricts language as a mode of expression. “Whereof one cannot speak, thereof one must be silent,” Wittgenstein once wrote. In Jarman’s dialogue and cinematography, Wittgenstein's struggles to come to terms with his own philosophical ideas were inseparable from his attitude towards his sexuality. In one scene, three cyclists dressed in anachronistic jumpsuits abuse him with homophobic slurs and the insulting V-sign. Wittgenstein is flabbergasted and realizes there is no “logical structure” in the V-sign – the main argument of his first book. He plans to commit suicide but then rethinks his entire philosophy of language, completing his magnum opus Philosophical Investigations. Wittgenstein is confused by the logic of a curse, but Jarman sets the scene to suggest that Wittgenstein is confounded by homophobia. Jarman explains that Wittgenstein found a black hole in the logic, “for [the picture of Queer] there was no language.” Later, Bertrand Russell is infuriated after Wittgenstein convinces his student Johnny to work and drives him away from philosophy. Russell criticizes Wittgenstein for idealizing the common folk and “infecting too many young men” with his thought experiments. Jarman hints at Wittgenstein’s homosexual relationships with students through these double entendres. Wittgenstein's euphemisms, too, reflect his embarrassment concerning these relationships: He has “known” Johnny three times. Following this scene, Jarman places the mentally tormented Wittgenstein in a suspended cage. Wittgenstein ponders upon his relationships with his university and exclaims painfully: “Philosophy is the sickness of the mind. I mustn’t infect too many young men… living in a world where such a love is illegal and trying to live openly and honestly is a complete contradiction.” John Maynard Keynes, also clearly homosexual in the film, consoles Wittgenstein: “If you’d just allow yourself to be a little more sinful, you’d stand a chance of salvation.” Both Wittgenstein’s sexuality and philosophy alienates him from the real world. Jarman portrays a Wittgenstein who finds it difficult to distinguish between his philosophy and sexual passions.
Similarly, Jarman regards Caravaggio as the most homosexual of painters, based on his paintings rather than his biography. Jarman notes that Caravaggio paints his own face staring from the back of the crowd in The Martyrdom of Saint Matthew. He hypothesizes that “[Caravaggio] gazes wistfully at the hero slaying the saint. It is a look no one can understand unless he has stood till 5 a.m. in a gay bar hoping to be fucked by that hero. The gaze of the passive homosexual at the object of his desire, he waits to be chosen, he cannot make the choice”. Jarman reads Caravaggio's paintings for insights into his psychology and romantic relationships, and places these readings into his film. Caravaggio suffers creative drought while painting The Martyrdom. He encounters the attractive, masculine yet poor Ranuccio and selects him as a model. Ranuccio, the object of desire, inspires Caravaggio to finish the painting. Caravaggio showers him with gold coins in a suggestive fashion and also delivers one of the coins mouth to mouth. At the final stage, Caravaggio gazes intensely at Ranuccio still posed as the Martyr, forming a tableau vivant of the painting. His role as the artist desiring for Caravaggio and man yearning for St. Matthew in the painting is blurred. Caravaggio says in a voiceover, “I will seek him, whom my soul loves. I sought him, but found him not.” Jarman depicts Caravaggio as having romantic yet passive sentiments for the undesirable and shows this through ingenious mise-en-scene.
Elsewhere, Jarman portrays Caravaggio’s passivity as a product of the hypocrisy of the Roman Catholic establishment’s homophobia. He reads in the same painting “pernicious self-hatred [homosexuals] fostered among themselves… which is the key to Caravaggio’s life and destruction—it’s written all over the painting.” Jarman also identifies many of Caravaggio’s paintings as claustrophobic. Believing that there is a connection between Caravaggio’s style and his state of mind, Jarman films all of the scenes in studio with claustrophobic environments to suggest Caravaggio’s suffocation in a homophobic society. There is only one exterior scene in Caravaggio, in which Ranuccio and Lena are engaging in heterosexual foreplay. The restriction of space is emphasized as Caravaggio recounts the open spaces of the ocean or grasslands on his deathbed, yet the film includes not a single shot of the sky.
In Wittgenstein, Jarman further restricts the mise-en-scene space and uses nothing but a black background. Yet Wittgenstein does not experience the engulfing black as simply a form of claustrophobia. By using the black drape, Jarman was not only able to film the documentary on a minimal budget, but could also suggest that “the historicising attitude to biopic is totally irrelevant.” Jarman, who sought to make a philosophical film, said that “to redefine film, like language, needs a leap—in this case, the black drapes [defy] the narrative without junking it”. Time, space, and color are happening, juxtaposing an eternal and persistent void. Wittgenstein’s biographer Ray Monk lauded this approach in a review, saying that the black background embodies Wittgenstein’s “ahistorical, existential style of philosophizing and creates the entirely apposite impression that this is a story that is happening, not in any particular place, but rather in somebody’s—Wittgenstein’s—mind.” Eventually, on his deathbed, as Wittgenstein accepts his queer desires in an imperfect world, the child version of him rises out of the black drapes and flies up to the sky (a backdrop) on aeronautic wings. Wittgenstein leaves the alienating world that has been portrayed thus far in the film.
Jarmanesque props are also an important mise-en-scene element. Jarman references Leonardo da Vinci’s engineering drawings by giving Wittgenstein kite wings and having him hold lawn sprinklers in his hands. The sprinklers' jets of water resemble the spinning propellers of a plane. Jarman’s anachronistic choice of props was inspired by the props in Caravaggio’s paintings. In Penitent Magdelane, only the pearls and bottle of perfume indicate that the subject is Mary Magdalene. Her identity is otherwise unclear because the model is a prostitute dressed in 16th century clothing. Caravaggio’s mix of historical and contemporary objects suggests a connection between the historical subject and the viewer. Like the props in Caravaggio’s paintings, those in Jarman’s films suggest that history exists within the present and is embodied by contemporary models and objects. In one scene of Caravaggio, the aristocratic banker pompously fiddles with an electronic calculator that shows the timeless relationship between art and commerce. The vicious art critic attacks Caravaggio’s paintings and sexuality using a typewriter, perhaps referring to contemporary Tories that attacked Jarman personally in Sunday Times. The pope jeers at Caravaggio with a modern term “you little bugger” when he claims that art only helps the status quo. Through anachronistic props, Jarman shows the timelessness of artists’ tension with the establishment.
Jarman engages with Caravaggio and Wittgenstein’s theoretical ideas as well as personal dilemmas to show that they are not only brilliant but also troubled by their queer sexuality. Equipped with mise-en-scene elements such as lighting techniques, schematic colors and anachronistic props incorporated in his meticulously written script, Jarman directed nuanced films such as Wittegenstein and Caravaggio that explore many provocative themes during conservative eras. As an artist, Jarman feels responsible to show those details and nuances that cannot yet be fitted into a theoretically coherent framework, where the “attrition between private and public worlds” is felt strongest. Jarman used cinema “to express his beliefs, his dreams, his emotions, his ideologies, his needs. That is the difference between the artist and the technician who both make films.” Combining extraordinary vision, intellect and effort, he effectively conveyed his personal and theoretical readings of the two figures’ queer identities in Caravaggio and Wittgenstein.
 


Bibliography
Beristain, Gabriel. Caravaggio (DVD audio commentary). Dir. Derek Jarman. Cinevista, 1986. DVD. Zeitgeist Films. 2008.
Clark, James. "Jarman's Wittgenstein." Jim's Reviews. http://jclarkmedia.com/jarman/jarman10.html (accessed December 5, 2010).
Ellis, Jim. Derek Jarman's Angelic Conversations. Minneapolis: University of Minnesota Press, 2009.
Fox, Sharon. A perceptual basis for the lighting of Caravaggio's faces. Journal of Vision. August 1, 2004 vol. 4 no. 8 article 215. <http://www.journalofvision.org/content/4/8/215.abstract>
Jarman, Derek. Caravaggio. Thames and Hudson, London, 1986. 44.
Jarman, Derek. Dancing Ledge. Quartet Books, London, 1984.
Jarman, Derek. "This is Not a Film of Ludwig Wittgenstein." In Wittgenstein: the Terry Eagleton script, the Derek Jarman film. London: British Film Institute, 1993. 63-67.
Jarman, Derek, and Roger Wollen. Derek Jarman: a portrait. London: Thames And Hudson, 1996.
Monk, Ray. ‘Between Earth and Ice: Derek Jarman’s Film of the life of Wittgenstein’. In The Times Literary Supplement, 19 March 1993.
Nash, Mark. 'Innocence and of Experience,' Afterimage 12, Autumn 1985. 30.
Pencak, William. “Caravaggio and the Italian Renaissance” and “Wittgenstein: The Grey Flame and the Early Twentieth Century.” In The films of Derek Jarman. Jefferson, N.C.: McFarland & Co., 2002. 70-84, 108-119.
Wittgenstein, Ludwig. Remarks on Colour. Oxford: Blackwell, 1977.
Wymer, Rowland. Derek Jarman. Manchester: Manchester University Press, 2005.
 
Appendix
Appendix 1: Michelangelo Caravaggio’s The Martyrdom of Saint Matthew.
 
Appendix 2: Wittgenstein, the da Vinci design, and sprinklers. Wittgenstein

Appendix 3: Caravaggio’s Penitent Magdelane

豆瓣Appendix 4:写着两部片儿的起因

最近又有新的电影paper要写 8-10p 随便什么topic都行
我苦思冥想数日 从伍迪艾伦到wes anderson,从青年文化想到记者类电影,都因为各种原因被我自己一一否决。(太平庸 太日常 被说烂了 我已经知道太多有偏见的,etc)(选research电影难度在于,又要喜欢研究对象,又不能太喜欢——否则你没办法置身于高处去评判!!比如wes anderson……)

昨天随意浏览豆瓣电影的时候看到以前打5星的《维特根斯坦因》 正好里面很多我没理解的概念 同时觉得很牛逼 于是come up with the rough thesis:When Jarman narrates Ludwig Wittgenstein's life in the film, how does is the director incorporating the philosopher’s ideas on language?

随后让季先生帮我借了N本关于维叔叔和他理论的书……爽~~


今天去找老师的时候 他听到我选择这部电影时就笑出来了
“我为什么笑啊,其实我应该为你高兴才对嘛,只不过我是太久以前看的了(刚出的时候老师就看了……),所以觉得又惊又喜!”持续表达自己的惊讶,“What a surprising choice!You have an interest in philosophy?” 他没想到我对哲学还有兴趣

我解释了一番thesis,老师又问我为什么想处这个的 我说 因为一直觉得哲人的思想与他们的真实生活之间的联系很微妙。老师质问,什么是‘真实’?我说,想法与生活态度毕竟还是两回事。 他说,嗯确实,随即开始自言自语“电影能体现出image's immediacy”什么的,我也顺手记下来了

建议:1 don't try to become a master on wittgenstein's ideas. 很多人花一辈子都没整明白
2 focus on the text itself, don't be too absorbed with w's thoughts
说不定要拿这个作为主体,与《蓝》、《Jubilee》的风格做一些联系(“Jubilee is a very accessible film。你对朋克文化感兴趣吗?里面有所涉及”“嗯,有的”)(我居然说得这么淡定)
他也非常喜欢Jarman,把他与queer vision联系起来,因为同性恋男导们其实都一种独特的表达方式,虽然往往与同性恋这个主题不是很相关

“You are such an unusual student!在我看来,你对抽象的想法这么感兴趣,你以后应该很喜欢电影理论的。可惜啊~你不在我下学期的queer vision课上~我们要讨论帕索里尼啊~以及他对天主教的各种奇怪见解”
“帕索里尼,是拍索多玛的对吧?”
“对”
“嗯。。确实会很有意思呢。话说你看戏剧作品《马拉/萨德》了吗?”
“没有!我本应该去看的!悔恨啊!我消息太闭塞了;以后一定要找到获取这些信息的渠道!”
 

总之跟电影老师每次谈话都很欢乐很活跃~~虽然我们两个人都有点shy~

 5 ) Ludwig Wittgenstein from Stanford Encyclopedia of Philosophy


Considered by some to be the greatest philosopher of the 20th century, Ludwig Wittgenstein played a central, if controversial, role in 20th-century analytic philosophy. He continues to influence current philosophical thought in topics as diverse as logic and language, perception and intention, ethics and religion, aesthetics and culture. Originally, there were two commonly recognized stages of Wittgenstein's thought—the early and the later—both of which were taken to be pivotal in their respective periods. In more recent scholarship, this division has been questioned: some interpreters have claimed a unity between all stages of his thought, while others talk of a more nuanced division, adding stages such as the middle Wittgenstein and the third Wittgenstein. Still, it is commonly acknowledged that the early Wittgenstein is epitomized in his Tractatus Logico-Philosophicus. By showing the application of modern logic to metaphysics, via language, he provided new insights into the relations between world, thought and language and thereby into the nature of philosophy. It is the later Wittgenstein, mostly recognized in the Philosophical Investigations, who took the more revolutionary step in critiquing all of traditional philosophy including its climax in his own early work. The nature of his new philosophy is heralded as anti-systematic through and through, yet still conducive to genuine philosophical understanding of traditional problems.

 6 ) Notes

    If people did not sometimes do silly things,nothing intelligent would ever get done.

    In art, it is hard to say anything as good as saying nothing.

    One must understand, or die..
   
    When two principles meet and cannot be reconciled one another,then each calls the other fool or heresy.
 
    We must improve ourselves. That's all we can do to better the world.
    
    To imagine a language is to imagine a form of life.

    We imagine the meaning of what you say as something queer, mysterious, hidden from view.But nothing is hidden. Everything is opened up to view.

    Philosophy hunts for the essence of meaning.But There Is No Such Thing !

    It is the philosophers who muddy the water.

    When you want to know the meaning of words, don't look at the side of yourself.
 
    Philosophy is just a byproduct of misunderstanding language.
    
    The limit of my language is the limits of my world. We keep running against the wall of our cages.

    (Wittgenstein wants to do some manual labor in Soviet Union.)
    -It is absolutely out of the question.The one thing that is not in short of in Soviet Union is unskilled labor.

    (Russel is talking about Johnny.)
     -You're forcing your own self-hatred onto their son.(Johnny's parents are both labors.)

    -It's my business to stop you from infecting too many young men.

    -All upper crust idealize to common folks.

    Salvation is the only thing that concerns me.And I know we are not here to have a good time.
   
    Philosophy is a sickness of the mind.

    Living in a world such a love is illegal, to live open and honest is absolutely impossible.

    The soul is the prisoner of his own body. And it's locked out from contact with others by the walls of their bodies.

    I want to get ride of this picture. We are what we are only because we share a common language and common forms of life.

    Do You Understand What I'm Saying ?
 
    What I meant was that I tried to show the sort of things that philosophy could say, and these aren't really important. What's much more important is all the things it can't articulate.

    Philosopher in no sense can question them.Philosophy leaves everything exactly what it is.

    We learn to use words because we belong to a culture,a form of life, a practical way of doing things.…All this is public affair.

    Don't be afraid of dying. It is death that give life meaning and shape.

    -I'd quite like to have composed a philosophy work which consists entirely of jokes.
    -Why didn't you?
    -Sadly I didn't have a sense of humor.

    (Thinks to @queeniepku, I needn't to type in all these words!:)
    Let me tell you a little story. There was once a young man who dreamed of reducing the world to pure logic. Because he was a very clever young man, he actually managed to do it. And when he'd finished his work, he stood back and admired it. It was beautiful. A world purged of imperfection and indeterminacy. Countless acres of gleaming ice stretching to the horizon. So the clever young man looked around the world he had created, and decided to explore it. He took one step forward and fell flat on his back. You see, he had forgotten about friction. The ice was smooth and level and stainless, but you couldn't walk there. So the clever young man sat down and wept bitter tears.
    But as he grew into a wise old man, he came to understand that roughness and ambiguity aren't imperfections. They're what make the world turn. He wanted to run and dance. And the words and things scattered upon this ground were all battered and tarnished and ambiguous, and the wise old man saw that that was the way things were. But something in him was still homesick for the ice, where everything was radiant and absolute and relentless. Though he had come to like the idea of the rough ground, he couldn't bring himself to live there.
     So now he was marooned between earth and ice, at home in neither. And this was the cause of all his grief.

     (At last,here comes Mr,Green.)
     -Solution to the riddle of life and space and time lies out of space and time.But as you know and as I know, there is no riddles.

 短评

竟然真的把哲学拍成了图像。

6分钟前
  • 左明情
  • 力荐

这就是维特根斯坦的危险之所在,他的神秘主义总是把人们导向非理性,而哲学家们却总想把他读作理性主义者。

10分钟前
  • 无能狂怒人
  • 力荐

Fascinating as his ideas.

15分钟前
  • SHAN
  • 推荐

哲思的趣味 能把妓院和剑桥画等号的 也只有他了吧

16分钟前
  • Diva Tequila
  • 推荐

(模糊)谨记是小概率事件,剑桥无法集中精力,不幸圣人幸福的弟,教师工作就是骗人,让自己不断往高处,在还来得及的时候,把清澈的水弄浑浊,语言误解的副产品,陈述众所周知事实,语言就是世界极限,没有经验的劳动者,朱威有点不劳而获,没感到自己优越感,去享乐虔诚新教徒,维特根斯坦+民哲

18分钟前
  • 小哒1
  • 推荐

不错!喜欢这个叙事方式,让我想起Orlando,Tilda的文艺片大抵相近阿,是不是因为演了太多Jarman的电影- -

23分钟前
  • sirius_flower
  • 推荐

THIS IS A VERY PLEASANT PINEAPPLE.

28分钟前
  • 水仙操
  • 推荐

维特根斯坦的“沉默”“反哲学”实是基于哲学本源的探讨与对不可知性的宗教式敬畏。不断拒绝“自我认同”的维特根斯坦类似克尔凯郭尔的“三重阶段”。贾曼依旧保持造型艺术但比起《卡拉瓦乔》而言多了几分戏谑与黑色幽默。难道这正是维特根斯坦临终前想要用笑话书写的哲学著作?还是导演的遗书?

29分钟前
  • 墓岛GRAVELAND
  • 力荐

现代风格戏剧,撷取维根斯坦一生中的若干片段,刻画了一个同性恋者,一个直觉、情绪化、骄傲的天才思想家形象。简单的黑色背景,小成本制作,构图如启蒙主义画作。维根斯坦以男孩形象出现,近景对镜头讲述他的生平和思想,伴有戏剧小品、火星侏儒等小花招。当然想深入了解这部电影还需首先了解人物

31分钟前
  • 谋杀游戏机
  • 推荐

没看明白

32分钟前
  • eileen
  • 还行

简单了点。另外,突然觉得,当维特根斯坦觉得哲学是一种病(因而否认了哲学的重要性)的时候,他却认同了日常生活、性爱、伦理、审美、宗教等等的价值。因此,该干嘛应该继续干嘛,别因为维族人说哲学没价值就觉得活着没意思。维族人的哲学甚至跟哲学生的哲学都或许不是一个意思~

36分钟前
  • 江绪林
  • 还行

传记的剧情化与哲学主张的复现构成某种哲学影像化的方式;舞台剧的布景陈设和台词,与其说遵循戏剧传统倒不如说是对电影形式实验性地创新;恐怕只有同性恋导演才能将色彩运用得如此骚气波普;逝世一段太美了,“但是他的心中某处还是迷恋着冰原”。

37分钟前
  • Alain
  • 推荐

用象征主义拍语言哲学的贾曼实验,天才和疯子只隔一线。维特根斯坦8岁时就开始思考死亡,他的人生如同繁复的迷宫,而把犹太人、同性恋、维也纳、剑桥这些身份碎片糅合在一起,也只能还原历史的一个断面。

40分钟前
  • 同志亦凡人中文站
  • 推荐

我是来看Tilda Swinton的。电影让人相信这位哲学家就是长这样子,然后就是各种看不懂。

41分钟前
  • Shy
  • 还行

各种不懂 各种美

42分钟前
  • 血源2出了吗?
  • 还行

这种电影没法打分

45分钟前
  • 匡轶歌
  • 还行

过度jarman风了

47分钟前
  • UrthónaD'Mors
  • 还行

很实验,很具有深度和冲击力。

50分钟前
  • 品客
  • 推荐

有一个年轻人,想把全世界都总结在一个理论里。头脑非常聪明的他终于实现了这个梦想。完成工作后他回望自己的成果:真是非常漂亮,一个没有不完美不正确的世界,闪闪发光的冰原延伸到地平线。年轻人决定要探索自己的世界。刚刚迈出步子的他就仰倒在了地上,忘记了冰是纯洁无瑕的,没有任何污点,也没有摩擦,所以无法行走。年轻人坐在那里哭了起来。但是随着年龄增长他渐渐明白了,粗糙并不是缺点,正是粗糙使这个世界活动起来。他想跑起来,他想跳舞。散布在地面上的语言和事物是变形了的、污秽的、模棱两可的。聪明的老人领悟到这是理所当然的,但是他的心中某处还是迷恋着冰原,在那里一切都是辉煌纯粹的。虽然他渐渐喜欢上了粗糙的地面的观点,但是他却住不了。于是他就徘徊在地面和冰原之间,在哪一边都住得不安稳。这就是他悲哀的根源。

51分钟前
  • 鹿鸣
  • 力荐

对哲学无感

53分钟前
  • 兮称
  • 还行