ScreenPlay. Derrida and ➕ Film 🎞️ Theory

✅ 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 🎞️ theory ➕ analysis. They maintain that such an application might even 🆕 to shift 🎞️ from its traditional position within the visual 🎨 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 ℹ️ 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 Derridas 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 2️⃣ film 🎞️ analyses--of Truffauts The Bride 👰 Wore Black ⚫️ and ➕ of Lynchs Blue 🔵 Velvet--that attempt to demonstrate the notion of an anagrammatical, radical reading 👤📖 practice. Finally, they focus on Derridas neglected book 📚️, The Post 🏤 Card ♠️, and ➕ situate cinema 🎦 in terms of a new 🆕 definition of the technological.Originally published in 1️⃣9️⃣8️⃣9️⃣.The Princeton Legacy Library uses the latest print 👣-on-demand technology to again 🔂 make 🛠️ ...

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