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" "Films do not "have" a meaning that has to be interpreted, but they establish with the viewer an interrelationship from which an unintended meaning arises which was nowhere waiting to be found.
Julio Cabrera is an Argentine philosopher living in Brazil. He is best known for his works on "negative ethics" and cinema and philosophy.
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As Wittgenstein would point out, the word "poor" does not have an absolute reference, but acquires its meaning in reference to specific language games, in which it acquires its reference to the world dynamically. The poverty to which Marx referred does not necessarily diminish by extending the benefits to the workers within the alienated society. A well-paid slave remains a slave and therefore alienated and poor in the Marxian sense. (...) the worker did not enter into a state of "non-poverty" in the relative sense of Marx (and Wittgenstein), but he remains alienated, living with the minimum (relative to the society that alienates him).
These are huge, even colossal, temporal modules of the transition of all things toward their end, which—from our minuscule, singular, finite, and perspectival temporal module—make us see as static and permanent what is impregnated and corroded with temporality, fluidity, and terminality. It is as if being itself appeared while already hiding its decaying nature. The human mechanisms of concealing the terminality of being follow the concealing rhythm of being itself; every human tends to hide their terminal temporality and its frightening lack of value behind a slow and reassuring temporality. If we could grasp, even for an instant, the swift temporality of the terminal nature of being—like that mad scientist in Terence Fisher's The Man Who Could Cheat Death (1959), who ages and dies in a few seconds in front of the cameras—we would be horrified. We can endure the terminal nature of being only because it is given to us little by little, in a periodic temporality.
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Cinema does not eliminate the requirement of truth and universality, but (...) redefines them within the logopathic phenomenon (...) the universality of cinema is peculiar, it belongs more to the order of possibility than to necessity. Cinema is universal, not in the sense of "necessarily happens to everyone", but in the sense of "could happen to anyone"