The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic mov...The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.展开更多
The article discusses the problem of the unity of Ludwig Wittgenstein＇s philosophy. It is demonstrated that Wittgenstein applied two methods of study. Changes in his philosophy are correlated with modifications in hi...The article discusses the problem of the unity of Ludwig Wittgenstein＇s philosophy. It is demonstrated that Wittgenstein applied two methods of study. Changes in his philosophy are correlated with modifications in his method of thinking and investigation. In his Tractatus Logico-Philosophicus, the only correct method is logical proposition analysis. In the early 1930s, he transformed his philosophy into a phenomenological description of experience, defining its aim as the development of phenomenological language. After 1933, Wittgenstein recognised the grammatical dimension of language and created tools of grammatical analysis. He introduced the notions of language-games and life forms. His philosophy turned into morphology and a description of human language practice.展开更多
文摘The scope of this paper is to investigate a number of emerging contemporary popular subgenres, namely that of ＂mumblecore film＂, the ＂best-worst film＂ and ＂the gonzo documentary＂. Unlike historical cinematic movements, these subgenres are the result of our techocentric culture and commercialism. In this respect these subgenres are less motivated by a collective ideology, but rather a cultural phenomenon resulting from increased access to popular culture, hypermedia devices, social media, and new marketing techniques. This paper investigates the displacement of traditional models of temporality through the metamorphosis of today＇s audiovisual culture, outlining the subject＇s embodiment of voyeurism and exhibitionism, ushering in a hyper-real era of self-myth making and consumption.
文摘The article discusses the problem of the unity of Ludwig Wittgenstein＇s philosophy. It is demonstrated that Wittgenstein applied two methods of study. Changes in his philosophy are correlated with modifications in his method of thinking and investigation. In his Tractatus Logico-Philosophicus, the only correct method is logical proposition analysis. In the early 1930s, he transformed his philosophy into a phenomenological description of experience, defining its aim as the development of phenomenological language. After 1933, Wittgenstein recognised the grammatical dimension of language and created tools of grammatical analysis. He introduced the notions of language-games and life forms. His philosophy turned into morphology and a description of human language practice.
