dan:<br>while cavell has written much on wittenstein in other contexts, his debt to ol ludwig on the film front rests, in my mind, most strongly in his reference to wittgenstein in the desire to resist the determining distraction of codes such as genre etc, as cavell puts it &quot;to wrest the world from our possessions so that we may possess it again&quot;. this is clearly referring to wittgenstein&#39;s notion that a proposition tells us less about the world than it does about how we use language to create forms of rhetoric for expressing that world. this is central to wittgenstein&#39;s later works (blue/brown books, philo inv, on certainty) and would be a useful thing for all to keep in mind concerning film representation. 
<br>--hunter<br><br><br><div><span class="gmail_quote">On 7/27/07, <b class="gmail_sendername">Shaw, Dan</b> &lt;<a href="mailto:[log in to unmask]"><a href="/cgi-bin/wa-jisc.exe?LOGON=A3%3Dind0707%26L%3DFILM-PHILOSOPHY%26E%3Dquoted-printable%26P%3D788124%26B%3D------%253D_Part_14637_5238307.1185581441661%26T%3Dtext%252Fhtml%3B%2520charset%3DISO-8859-1%26pending%3D" target="_parent" >[log in to unmask]</a></a>&gt; wrote:</span><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Dear Dan:<br><br>&nbsp;&nbsp;&nbsp;&nbsp; The Wittgensteinian (and ultimately Nietzschean) insight that I think has had the most influence on Cavell is the notion of language games, which Cavell translates into his own characteristically loose theory of (sub) genre.&nbsp;&nbsp;For example, if you look at the Comedies of Remarriage that he takes to be paradigmatic, you&#39;ll notice that some of them (Adam&#39;s Rib, and Bringing Up Baby) aren&#39;t even really about remarriage per se, but have enough family resemblances to be fruitfully included under that conceptual umbrella.
<br><br>&nbsp;&nbsp;&nbsp;&nbsp; This, of course, only begins the conversation.<br><br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&quot;Even the bravest of us rarely have the courage to face what we really know&quot;<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Friedrich Nietzsche
<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Twilight of the Idols<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&quot;Maxims and Arrows&quot; 2
<br><br>Daniel Shaw<br>Professor of Philosophy and Film<br>Lock Haven University<br>Managing Editor, Film and Philosophy<br>website: <a href="http://www.lhup.edu/dshaw">www.lhup.edu/dshaw</a><br><br><br>________________________________
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