Results for 'Jarman'

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  1. Proceedings of the British Academy, Volume 71: 1985.Jarman Alfred Owen Hughes - 1986
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  2.  47
    Derek Jarman and Everything That Is the Case.Joshua Gang - 2022 - Critical Inquiry 48 (4):631-651.
    Juxtaposing Derek Jarman’s film Wittgenstein (1993) with the eponymous philosopher’s Tractatus Logico-Philosophicus (1922), this article shows how Jarman’s film warns its viewers against the conceptual and political problems created by treating queerness as a metaphysical abstraction. For Jarman’s version of Wittgenstein, the need to make queerness a metaphysical abstraction was the product of homophobic self-loathing, which in turn distorted the philosopher’s sense of what and who could be part of “the world.” I take Jarman’s film as (...)
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  3. Derek Jarman in the Docklands : the last of England and Thatcher's London.Mark W. Turner - 2011 - In John David Rhodes & Elena Gorfinkel (eds.), Taking Place: Location and the Moving Image. University of Minnesota Press.
     
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  4.  43
    Wittgenstein de Derek Jarman : un film d'« intérieur ».Antonia Soulez & Marc Cerisuelo - 2003 - Rue Descartes 39 (1):109-119.
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  5.  31
    Jim Ellis (2009) Derek Jarman's Angelic Conversations.Jason Wakefield - 2011 - Film-Philosophy 15 (1):270-277.
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  6.  17
    Michael Charlesworth (2011) Derek Jarman.Justin Remes - 2013 - Film-Philosophy 17 (1):484-486.
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  7.  53
    Charm and Strangeness: The Aesthetic and Epistemic Dimensions of Derek Jarman's Wittgenstein.Kieran Anthony Cashell - 2012 - Film-Philosophy 16 (1):101-126.
    Wittgenstein (1993), Derek Jarman’s biopic of the Austrian-born Cambridge philosopher is a fascinating – if perplexing – film. In equal measure aesthetic and didactic, its status is ambiguous, and not only because didacticism in the philosophy of art is often assumed to diminish aesthetic value. Nothing, however, of the film’s aesthetic is depreciated by the intention to instruct. Even if the objective was to teach, the film is also highly aestheticised. Composed of a series of richly theatrical set-pieces, (...)’s film aspires to a painterly aesthetic. This paper examines the aesthetic and epistemic dimensions of Wittgenstein . The consensus among professional philosophers is that the film, while idiosyncratic and stylised, nevertheless says something important about Wittgenstein’s philosophy. It is as if he has used the project to innovate ways of translating Wittgenstein’s philosophy to aesthetic form. The resultant representational strategies are best understood with reference to the picture theory developed in Wittgenstein’s early philosophy. In the Tractatus Logico - Philosophicus (1922) Wittgenstein characterised the proposition as an articulation of elements that, by virtue of shared logical form, corresponds to the disposition of objects in a possible fact. Under Jarman’s direction, cinematic tableaux are transformed into propositions in the Wittgensteinian sense. In this film, therefore, Jarman has refined his cinematic process into what, following the picture theory, I have called tractarian montage. It is because the philosophy is embedded in the film as a structural component of its form (and not just presented didactically) that Wittgenstein seems oddly right to Wittgensteinian viewers. The aesthetic and epistemic consequences that result from Jarman’s approach are precisely what make the film philosophically interesting – indeed they provide a valuable opportunity to reflect not only on the development of Wittgenstein’s philosophy but also, uniquely, on the relationship between his philosophy and his life. (shrink)
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  8.  16
    Edward II: Derek Jarman's Defense of Gay Rights.William Pencak - 1994 - American Journal of Semiotics 11 (3/4):203-222.
  9.  23
    Queering a Gay Cliché: The Rough Trade/Sugar Daddy Relationship in Derek Jarman's Caravaggio.Niall Richardson - 2005 - Paragraph 28 (3):36-53.
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  10. Fortnum & Mason im Kino: Derek Jarmans Film WITTGENSTEIN.Hans J. Wulff - 1995 - Wittgenstein-Studien 2 (1).
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  11. "Portraits of Wittgenstein" by Ian Ground and F.A. Flowers. [REVIEW]Tim Crane - 2016 - The Times Literary Supplement 1:1-1.
    Derek Jarman’s Wittgenstein (1993) is one of the very few films made about a philosopher’s life. Almost a parody of a late twentieth-century art-house movie, it contains a mimetic performance by Karl Johnson in the title role, plus cameos by Michael Gough (Bertrand Russell) and the ubiquitous Tilda Swinton (Russell’s lover, Ottoline Morrell). There is a green Martian (played by Nabil Shaban) who quizzes the young Ludwig Wittgenstein, and a collection of handsome young men sitting on deckchairs, looking puzzled (...)
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  12.  40
    Eagleton's Wittgenstein.Robert Vinten - 2015 - Critique 43 (2):261-276.
    The prominent literary theorist, Terry Eagleton, is one of a limited number of Marxist theorists to have taken Wittgenstein’s ideas seriously. He wrote the script for Derek Jarman’s film about Wittgenstein and his work in cultural theory is clearly indebted, to some extent, to Wittgenstein. His Ideology: an Introduction employs the Wittgensteinian notions of ‘family resemblance’ and ‘forms of life’ and he also leans on Wittgenstein’s remarks about epistemological matters in it. Among the novels inspired by Wittgenstein there is (...)
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  13.  16
    Authority in Crisis? The Dynamic of the Relationship Between Prospero and Miranda in Appropriations of The Tempest.Magdalena Cieślak - 2017 - Text Matters - a Journal of Literature, Theory and Culture 7 (7):161-182.
    The relationship between Prospero and Miranda is fairly typical for Shakespeare’s way of portraying parental authority and filial obligation. A strong and authoritative father, an absent mother and a rebellious daughter are character types reused in many of his plays. In The Tempest, authority, power and ownership, be it political or domestic, are important themes. In criticism, Prospero is frequently discussed through the prism of his attitude to his “subordinates”—Ariel, Caliban and Miranda—and the play’s narrative is interpreted in the context (...)
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  14.  8
    Wittgenstein at the Movies: Cinematic Investigations.Béla Szabados & Christina Stojanova (eds.) - 2011 - Lanham, MD, USA: Lexington Books.
    Wittgenstein at the Movies is centered on in-depth explorations of two intriguing experimental films on Wittgenstein: Derek Jarman's Wittgenstein and Péter Forgács' Wittgenstein Tractatus. The featured essays look at cinematic interpretations of Wittgenstein's life and philosophy in a manner bound to provoke the lively interest of Wittgenstein scholars, film theorists, students of film aesthetics and artistic modernism, and those concerned with the world of Cambridge in the first half of the twentieth century.
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  15. Meaning through Pictures: Péter Forgács and Ludwig Wittgenstein.Andrew Lugg & Bela Szabados - 2011 - In Bela Szabados (ed.), Wittgenstein at the Movies: Cinematic Investigations. Latham, Maryland: Rowman and Littlefied. pp. 91-120.
    Chapter in Wittgenstein at the Movies, an in-depth explorations of two experimental films on Wittgenstein: Derek Jarman's Wittgenstein and Péter Forgács' Wittgenstein Tractatus.
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  16.  18
    Semiconductor’s landscapes as sound-sculptured time-based visualizations.Inge Hinterwaldner - 2014 - Technoetic Arts 12 (1):15-38.
    The results of artistic experimentation with data sets from the natural sciences differ considerably with respect to quality and consistency. The British artist duo Semiconductor (Ruth Jarman and Joe Gerhardt) counts among those setting the standard. In its animations and videos, it explores, in an equally multifaceted and concise manner, how scientists affect our world-view with their respective pictorial languages and visualization strategies. Especially in domains that elude our natural sense of space and time, the researchers’ representations are inevitably (...)
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  17.  25
    Touching, unbelonging, and the absence of affect.Ranjana Khanna - 2012 - Feminist Theory 13 (2):213-232.
    This article argues that psychoanalytic notions of affect – including ideas of anxiety and melancholia, as well as deconstructive concepts of auto-affection – offer a feminist ethico-politics and a notion of affect as interface. Beyond the confines of the experiential and the positivist, both psychoanalysis and deconstruction provide insights into affect as a technology that understands the subject as porous. I consider works by Derek Jarman and Shirin Neshat to demonstrate the importance of the ethico-politics of affect as interface (...)
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  18.  67
    Making Manifest.Tracy Bowell - 2001 - Teaching Philosophy 24 (2):133-142.
    This paper considers the use of Derek Jarman’s film “Wittgenstein” as a valuable resource for those writing upon, thinking about, and teaching Wittgenstein’s philosophy, especially in understanding Wittgenstein’s approach to questions about language and its relationship to reality. The paper begins by considering the role biography plays in philosophical scholarship and how, in the case of Wittgenstein, this has a particularly significant role. Next, the paper describes the form and content of the film before moving to a discussion of (...)
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  19.  24
    Making Manifest.Tracy Bowell - 2001 - Teaching Philosophy 24 (2):133-142.
    This paper considers the use of Derek Jarman’s film “Wittgenstein” as a valuable resource for those writing upon, thinking about, and teaching Wittgenstein’s philosophy, especially in understanding Wittgenstein’s approach to questions about language and its relationship to reality. The paper begins by considering the role biography plays in philosophical scholarship and how, in the case of Wittgenstein, this has a particularly significant role. Next, the paper describes the form and content of the film before moving to a discussion of (...)
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  20.  20
    Fags, hags, and queer sisters: gender dissent and heterosocial bonds in gay culture.Stephen Maddison - 2000 - New York: St. Martin's Press.
    Fags, Hags and Queer Sisters is a provocative account of the importance of women and cross-gender identification in "gay" male culture. It offers a range of cultural readings from Tennessee William's classic A Streetcar Named Desire and Forster's 'gay' novel Maurice through Pulp Fiction, queer lifestyle magazines, Roseanne, slash fan fiction, and Jarman's Edward II to Almodovar's camp classic Women on the Verge of a Nervous Breakdown. Theoretically sophisticated, yet passionate, accessible and opinionated, Fags, Hags and Queer Sisters takes (...)
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  21.  10
    The logic of the lure.John Paul Ricco - 2002 - Chicago: University of Chicago Press.
    The attraction of a wink, a nod, a discarded snapshot-such feelings permeate our lives, yet we usually dismiss them as insubstantial or meaningless. With The Logic of the Lure, John Paul Ricco argues that it is precisely such fleeting, erotic, and even perverse experiences that will help us create a truly queer notion of ethics and aesthetics, one that recasts sociality and sexuality, place and finitude in ways suggested by the anonymity and itinerant lures of cruising. Shifting our attention from (...)
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  22.  34
    Particularity, presence, art teaching, and learning.Julia Kellman - 2007 - Journal of Aesthetic Education 41 (1):51-61.
    In lieu of an abstract, here is a brief excerpt of the content:Particularity, Presence, Art Teaching, and LearningJulia Kellman (bio)The Awful, the Particular, and the TranscendentYears ago in a life drawing class during graduate school, for who knows what reason, I chose to focus my drawing on the model's head and not on her entire form. She was wearing an enormous and elaborate black velvet hat with yards of veiling and several large red silk roses. The combination of textures, shadows, (...)
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  23.  95
    Filming Concepts, Thinking Images: On Wonder, Montage and Disruption in an Image-Saturated.Vania Baldi & Nélio Conceição - 2022 - Eidos. A Journal for Philosophy of Culture 6 (2):70-85.
    This article explores the relation between cinema and philosophy through the lens of interest shown by some filmmakers in the lives and works of philosophers. It begins by delving into contemporary perspectives on the relationship between philosophy and cinema. In order to assess how the constitutive dissimilarity of the two terms and the ways in which they can be brought together are at the origin of speculative short circuits and experiences of wonder, it brings together the works of thinkers – (...)
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