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Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the field of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the act of being filmed, The Traces of Jacques Derrida's Cinema contributes to the ongoing close analyses of the philosopher's work while also providing a rigorous introduction to deconstruction. Author Timothy Holland interweaves historical and speculative modes of research and writing to articulate the peripheral-yet surprisingly crucial-place of the cinematic medium for Derrida and his philosophical enterprise. The outcome is a meticulously detailed survey of the centers and margins of Derrida's oeuvre that include forays into such terrain as: his notable appearances in films; an unrealized project on cinema and belief that Derrida proposed in a 2001 interview; the correspondences between the strategies of deconstruction and the traditions, homecomings, and wordplay of David Lynch's cinematic media; and the questions wedded to the future of film studies amid the vicissitudes of the modern, virtual university. Ultimately, Holland pursues the thinking activated by the flickering of Derrida's cinema-not only the absence and presence of film in Derrida's professional and personal life, but also the rigor of academic discourse and the pleasures of the movies, ghosts and technology, religious faith and scientific knowledge, and ruination and survival-as a critical chance for reflection.
Jacques Derrida remains a leading voice of philosophy, his works still resonating today—and for more than three decades, one of the main sites of Derridean deconstruction has been the arts. Collecting nineteen texts spanning from 1979 to 2004, Thinking out of Sight brings to light Derrida’s most inventive ideas about the making of visual artworks. The book is divided into three sections. The first demonstrates Derrida’s preoccupation with visibility, image, and space. The second contains interviews and collaborations with artists on topics ranging from the politics of color to the components of painting. Finally, the book delves into Derrida’s writings on photography, video, cinema, and theater, ending with a text published just before his death about his complex relationship to his own image. With many texts appearing for the first time in English, Thinking out of Sight helps us better understand the critique of representation and visibility throughout Derrida’s work, and, most importantly, to assess the significance of his insights about art and its commentary.
Cinema without Reflection traces an implicit film theory in Jacques Derrida's oeuvre, especially in his frequent invocation of the myth of Echo and Narcissus. Derrida's reflections on the economies of image and sound that reverberate in this story, along with the spectral dialectics of love, mirrors, and poiesis, serve as the basis for a theory of cinema that Derrida perhaps secretly imagined. Following Derrida's interventions on Echo and Narcissus across his thought on the visual arts, Akira Mizuta Lippit seeks to return to a theory of cinema adrift in Derrida's philosophy. Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
Peter Brunette and David Wills extend the work of Jacques Derrida into a new realm--with rewarding consequences. 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. 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. This book also supplies a fascinating introduction to Derrida for the general reader. The authors begin by explaining, in political terms, why film theorists have neglected Derrida's work. Next they offer a Derridean critique of the assumptions of contemporary film studies. 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. Finally, they focus on Derrida's neglected book, The Post Card, and situate cinema in terms of a new definition of the technological. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. 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.
Philosophy, and in particular continental philosophy, has provided a conceptual underpinning for cinema since its beginnings, especially in the development of cinematic aesthetics. In its turn, film has rethought the abstractions of space and time and the categories of sex and gender and has created new concepts which illuminate phenomenology, metaphysics and epistemology. "Film and Philosophy" brings together leading scholars to provide a detailed overview of the key thinkers who have shaped the field of film philosophy. The thinkers include continental and 'post-continental' philosophers, analytic philosophers, film-makers, film reviewers, sociologists, and cultural theorists.The essays reveal how philosophy can be applied to film analysis and how film can be used to illustrate philosophical problems. But more importantly, the essays explore how film has shaped what philosophy thinks and how philosophy has lead to a reappraisal of film. The book will prove an invaluable reference and guide to readers interested in a deeper understanding of the issues and insights presented by film philosophy." Film and Philosophy" includes essays on: Hugo Munsterberg, Vilem Flusser, Siegfried Kracauer, Theodor Adorno, Antonin Artaud, Henri Bergson, Maurice Merleau-Ponty, Emmanuel Levinas, Andre Bazin, Roland Barthes, Serge Daney, Jean-Luc Godard, Stanley Cavell, Jean-Luc Nancy, Jacques Derrida, Gilles Deleuze, Sarah Kofman, Paul Virilio, Jean Baudrillard, Jean-Francois Lyotard, Fredric Jameson, Felix Guattari, Raymond Bellour, Christian Metz, Julia Kristeva, Laura Mulvey, Homi Bhabha, Slavoj Zizek, Stephen Heath, Alain Badiou, Jacques Ranciere, Leo Bersani, Giorgio Agamben, and Michel Chion.
The last published work that Jacques Derrida was involved with before his death in 2004, this title includes over 200 illustrations taken from the film of the same name, as well as essays, interviews and question and answer sessions.
Cinema without Reflection traces an implicit film theory in Jacques Derrida’s oeuvre, especially in his frequent invocation of the myth of Echo and Narcissus. Derrida’s reflections on the economies of image and sound that reverberate in this story, along with the spectral dialectics of love, mirrors, and poiesis, serve as the basis for a theory of cinema that Derrida perhaps secretly imagined. Following Derrida’s interventions on Echo and Narcissus across his thought on the visual arts, Akira Mizuta Lippit seeks to return to a theory of cinema adrift in Derrida’s philosophy. Forerunners is a thought-in-process series of breakthrough digital works. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.
Although there is a significant literature on the philosophy of Jacques Derrida, there are few analyses that address the deconstructive critique of phenomenology as it simultaneously plays across range of cultural productions including literature, painting, cinema, new media, and the structure of the university. Using the critical figures of "ghost" and "shadow"-and initiating a vocabulary of phantomenology-this book traces the implications of Derridean "spectrality" on the understanding of contemporary thought, culture, and experience. This study examines the interconnections of philosophy, art in its many forms, and the hauntology of Jacques Derrida. Exposure is explored primarily as exposure to the elemental weather (with culture serving as a lean-to); exposure in a photographic sense; being over-exposed to light; exposure to the certitude of death; and being exposed to all the possibilities of the world. Exposure, in sum, is a kind of necessary, dangerous, and affirmative openness. The book weaves together three threads in order to format an image of the contemporary exposure: 1) a critique of the philosophy of appearances, with phenomenology and its vexed relationship to idealism as the primary representative of this enterprise; 2) an analysis of cultural formations-literature, cinema, painting, the university, new media-that highlights the enigmatic necessity for learning to read a spectrality that, since the two cannot be separated, is both hauntological and historical; and 3) a questioning of the role of art-as semblance, reflection, and remains-that occurs within and alongside the space of philosophy and of the all the "posts-" in which people find themselves. Art is understood fundamentally as a spectral aesthetics, as a site that projects from an exposed place toward an exposed, and therefore open, future, from a workplace that testifies to the blast wind of obliteration, but also in that very testimony gives a place for ghosts to gather, to speak with each other and with humankind. Art, which installs itself in the very heart of the ancient dream of philosophy as its necessary companion, ensures that each phenomenon is always a phantasm and thus we can be assured that the apparitions will continue to speak in what Michel Serres's has called the "grotto of miracles." This book, then, enacts the slowness of a reading of spectrality that unfolds in the chiaroscuro of truth and illusion, philosophy and art, light and darkness. Scholars, students, and professional associations in philosophy (especially of the work of Derrida, Husserl, Heidegger, and Kant), literature, painting, cinema, new media, psychoanalysis, modernity, theories of the university, and interdisciplinary studies.
First published in 1967, Writing and Difference, a collection of Jacques Derrida's essays written between 1959 and 1966, has become a landmark of contemporary French thought. In it we find Derrida at work on his systematic deconstruction of Western metaphysics. The book's first half, which includes the celebrated essay on Descartes and Foucault, shows the development of Derrida's method of deconstruction. In these essays, Derrida demonstrates the traditional nature of some purportedly nontraditional currents of modern thought—one of his main targets being the way in which "structuralism" unwittingly repeats metaphysical concepts in its use of linguistic models. The second half of the book contains some of Derrida's most compelling analyses of why and how metaphysical thinking must exclude writing from its conception of language, finally showing metaphysics to be constituted by this exclusion. These essays on Artaud, Freud, Bataille, Hegel, and Lévi-Strauss have served as introductions to Derrida's notions of writing and différence—the untranslatable formulation of a nonmetaphysical "concept" that does not exclude writing—for almost a generation of students of literature, philosophy, and psychoanalysis. Writing and Difference reveals the unacknowledged program that makes thought itself possible. In analyzing the contradictions inherent in this program, Derrida foes on to develop new ways of thinking, reading, and writing,—new ways based on the most complete and rigorous understanding of the old ways. Scholars and students from all disciplines will find Writing and Difference an excellent introduction to perhaps the most challenging of contemporary French thinkers—challenging because Derrida questions thought as we know it.
Originally published in 1984. In Applied Grammatology, Gregory Ulmer provides an extraordinary introduction to the third, "applied" phase of grammatology, the "science of writing," outlined by Jacques Derrida in Of Grammatology. Ulmer looks to the later experimental works of Derrida (beginning with Glas and continuing through Truth in Painting and The Post Card). In these, he discovers a critical methodology radically different from the deconstruction for which Derrida is known. At the same time, he finds the source of a new pedagogy for all the humanities, one based on grammatology and appropriate to the era of audiovisual communications in which we live. Detractors of Derrida often accuse him of superficial wordplay and of using images and puns as nonfunctional subversions of academic conventions. Ulmer argues that there is, in fact, a fully developed use of homonyms in Derrida's style, which produces its own distinctive knowledge and insight. Derrida's experiments with images, moreover—his expansion of descriptions of everyday objects such as umbrellas, matchboxes, and post cards into cognitive models—serve to reveal a simplicity underlying intellectual discourse, which could be used to eliminate the gap separating the general public from specialists in cultural studies. Comparing the stylistic innovations of Derrida with Jacques Lacan's use of puns and diagrams, with the German performance artist Joseph Beuys's demonstration of models, and with the "montage writing" of the films of Sergei Eisenstein, Ulmer explores the possibility of deriving a postmodernist pedagogy from Derrida's texts. The first study to suggest the full potential of the program available in Derrida's writings, Applied Grammatology is also the first outline of a Derridean alternative to deconstructionism. With its shift away from Derrida's philosophical studies to his experimental texts, Ulmer's book aims to inaugurate a new movement in the American adaptation of contemporary French theory.