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. An interesting parallel thus exists between the emphasis of current film theory and the ideas developed by Derrida. Try logging in through your institution for access. Austin ‘s (1911—1960) theory of ‘ speech acts ‘ (see, Austin, 1975). 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. However, the perspective from which Derrida approaches the domains of psychoanalysis and the media is quite different from that adopted so far by film theorists. Derrida and Contemporary Film Studies, CHAPTER THREE. Throughout the two previous chapters we have occasionally referred to Derridian “concepts,” but strictly speaking this is a misnomer. 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. 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. Peter Brunette and David Wills extend the work of Jacques Derrida into a new realm--with rewarding consequences. Film as Writing: From Analogy to Anagram. 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. Peter Brunette and David Wills extend the work of Jacques Derrida into a new realm--with rewarding consequences. According to Derrida, Austin makes great play upon the role that intentions and literal meaning have in securing meaning. 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. Er ist weltweit vor allem als der Vater der "Dekonstruktion" bekannt. on JSTOR. Jahrhunderts und nicht zuletzt den Blick auf uns selbst maßgeblich beeinflußt hat. You do not have access to this 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. ‘Within film theory Derrida is perhaps best conceived of as a structuring absence’ (Lapsley and Westlake 1988,65) 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. (For EndNote, ProCite, Reference Manager, Zotero, Mendeley...), CHAPTER TWO DERRIDA AND CONTEMPORARY FILM STUDIES, CHAPTER THREE FILM AS WRITING: FROM ANALOGY TO ANAGRAM. Log in to your personal account or through your institution. Finally, they focus on Derrida's neglected book, The Post Card, and situate cinema in terms of a new definition of the technological. 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. JSTOR®, the JSTOR logo, JPASS®, Artstor®, Reveal Digital™ and ITHAKA® are registered trademarks of ITHAKA. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. Rather than developing a metapsychology that links psychoanalytic functions with those of spectating, or analyzing diegetic relations according to a Lacanian model, Derrida investigates the... JSTOR is part of ITHAKA, a not-for-profit organization helping the academic community use digital technologies to preserve the scholarly record and to advance research and teaching in sustainable ways. 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. It might seem surprising that the book in which Derrida makes the most explicit comments about relations between technology and the media, namelyThe Post Card, is also his book on psychoanalysis. In one such scene, Derrida telescopically watches a video of himself analyzing footage of himself. All Rights Reserved. In the absence of anything written by Derrida on the cinema, we would like in this chapter to examine what he says about the image and the frame. 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. But consider first of all what it means to say that Derrida hasnotwritten about the cinema, as opposed to his having written about the image, or philosophy, or literature. An interesting parallel thus exists between the emphasis of current film theory and the ideas developed by Derrida. Yet Derrida’s influence on film studies has so far been minimal. Then, drawing on his recently translated The Truth in Painting as well as on other, relatively unknown texts such as Droit de regards, they discuss his ideas in relation to the cinema and present two film analyses--of Truffaut's The Bride Wore Black and of Lynch's Blue Velvet--that attempt to demonstrate the notion of an "anagrammatical," radical reading practice. Next they offer a Derridean critique of the assumptions of contemporary film studies. Next they offer a Derridean critique of the assumptions of contemporary film studies. The film follows the French deconstructionist through the halls of New York University, South Africa, and his family home. ©2000-2020 ITHAKA. In this essay Derrida offered a reading of the English philosopher J.L. In the preceding chapters and in the chapter to follow we have tried, as academic protocol dictates for a collaborative effort, to disguise our individual voices, to offer the illusion of a single, seamless flow of thought that has arisen naturally from our work together and even, perhaps, without great effort. This book also supplies a fascinating introduction to Derrida for the general reader. Finally, they focus on Derrida's neglected book, The Post Card, and situate cinema in terms of a new definition of the technological. ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. 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. This process is experimental and the keywords may be updated as the learning algorithm improves. This book also supplies a fascinating introduction to Derrida for the general reader. Screen Project Film Theory Realist Text Mirror Stage Conventional Realist These keywords were added by machine and not by the authors. The words that Derrida throws into a constantly mutating chain of signification, or the words that he revives within that chain, cannot properly be called concepts, nor can they easily be applied to textual systems other than those he discusses, such as literature, painting, or philosophy—for example, a textual system such as cinema.