This article offers an interpretation of Orson Welles’ F for Fake. Its argument moves from a review of the existing literature on the film, with a particular focus on differing notions of genre and categories such as realism, modernism, and postmodernism. After a close cinematic analysis, it is argued that Stanley Cavell’s concept of “the truth of skepticism” and the therapeutic idea of philosophy he absorbs from Wittgenstein’s Philosophical Investigations can provide us with categories able to further our understanding of both Welles’ film and cinema more generally. 

Un cinema wittgensteiniano? F for Fake di Orson Welles

Raffaele Ariano
In corso di stampa

Abstract

This article offers an interpretation of Orson Welles’ F for Fake. Its argument moves from a review of the existing literature on the film, with a particular focus on differing notions of genre and categories such as realism, modernism, and postmodernism. After a close cinematic analysis, it is argued that Stanley Cavell’s concept of “the truth of skepticism” and the therapeutic idea of philosophy he absorbs from Wittgenstein’s Philosophical Investigations can provide us with categories able to further our understanding of both Welles’ film and cinema more generally. 
Orson Welles, Ludwig Wittgenstein, Stanley Cavell, postmodernism, therapy
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/20.500.11768/133813
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