The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. JSTOR®, the JSTOR logo, JPASS®, Artstor®, Reveal Digital™ and ITHAKA® are registered trademarks of ITHAKA. If the 2002 documentary “Derrida” proves anything, it’s that Derrida can’t answer a simple god-damned question. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. Yet Derrida’s influence on film studies has so far been minimal. Differance has become a prominent concept in the parlance of all the major theories of the post 1960 period — Derrida’s concept of “ecriture”, Lacan’s concept of the ‘inalienable split” that inhabits the self, in its longing for the lost and unattainable wholeness, Cixous’ “ecriture feminine”, are all marked by difference, thereby giving rise to multitudes of meanings in each aspect. Needless to say, whatever smoothness and seamlessness this book may demonstrate is the product of a great deal of discussion, debate, compromise, revision of each other’s revisions, and so on. They maintain that such an application might even begin to shift film from its traditional position within the visual arts to a new place in the media and information sciences. Ein Film von Kirby Dick und Amy Ziering Kofman Jacques Derrida gilt als einer der wichtigsten Philosophen unserer Zeit, der den Blick auf Geschichte, Kunst und Sprache des 20. Derrida was the best known of the Poststructuralists, a playfully knowledgeable writer who attacked 'logocentricism', the view that ideas exist outside the language we use to express them. Yet the various domains in which these terms were first employed also may not exercise proprietary claim over them, hence leaving them open to adaptation. Although Derrida has never addressed film theory directly in his writings, Brunette and Wills argue that the ideas he has developed in his critique of the logocentric foundations of Western thought, especially his notion of "Writing," can be usefully applied to film theory and analysis. Derrida often challenges the filmmaking process and argues against the capability of any film to portray him accurately. It is beginning to have a similar effect on Anglo-American analytical philosophy, and the name, at least, now has a certain currency within literate circles in general. We shall consider questions directly pertaining to cinematic representation and such obviously cinematic notions as the image and the frame in later chapters, but here we want to take up those assumptions and prior formulations that currently ground film theory and criticism in general. Log in to your personal account or through your institution. Although Derrida has never addressed film theory directly in his writings, Brunette and Wills argue that the ideas he has developed in his critique of the logocentric foundations of Western thought, especially his notion of "Writing," can be usefully applied to film theory and analysis. Peter Brunette and David Wills extend the work of Jacques Derrida into a new realm--with rewarding consequences. It is this state of affairs that we wish to examine in what follows; we would also like to suggest ways in which Derridean thinking and what has come to be known as deconstruction might contribute to our understanding of certain crucial... Having considered Derrida’s ideas from the more general point of view of politics and, to some extent, psychoanalysis, we now want to look more specifically at the various ways in which a deconstructive perspective on film studies may alter the terrain of that discipline. The work of French philosopher Jacques Derrida has already had a profound influence on literary studies in the English-speaking world.
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