Abstract

While most films use moving images as their primary currency, there are several experimental films—such as Michael Snow’s So Is This (1982)—that instead traffic in the written word. This article argues that such experiments problematize rigid conceptions of film’s ontology and instead foreground the usefulness of a Wittgensteinian approach to cinema.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 69-87
Launched on MUSE
2015-04-25
Open Access
No
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