The writings of Jacques Derrida have had a profound but complex influence on both film studies and on feminism. In the first work of its kind, Deconstruction, Feminism, Film explores the interconnections between these three fields through detailed filmic and philosophical close readings. Employing a dual feminist methodology of critique and generation, this book probes the feminist faultlines in Derrida's thought and generates original feminist insight into key concerns of contemporary film studies, including spectatorship, realism vs artifice, narrative, adaptation, auto/biography and the still. In theory and in practice, Deconstruction, Feminism, Film performs the possibilities of a new twenty-first century feminist spectatorship.
Rezensionen / Stimmen
The power of close reading clearly pays off in the very rich and provocative sections that Dillon offers on each of the films and texts she analyzes. Dillon is a skilled feminist detective, and I learned a great deal from this book. It will be of interest to scholars and graduate students studying Derrida, and to film scholars and students as well. Dillon chooses fascinating objects, homes in on revealing details, and makes a strong case for ways in which Derrida's methodology might be utilized for feminist film critics. -- Lori Jo Marso, Union College * Hypatia * In this meticulous and welcome intervention into Derrida scholarship, Dillon creates feminist film philosophy from analyses of female-female intimacy in a range of visual forms, from autobiography and documentary film,?to fiction and the photonovel. She draws out these contributions to feminist film thinking through close readings that demonstrate the potential for Derridean ideas in relation to film theory and criticism, and the empowerment of the singular, embodied, spectator. This book interrogates the encounters between Derrida and film, and opens a new avenue of investigation replete with possibilities for feminist critique and creative philosophical film analysis.' -- Lucy Bolton, Queen Mary University of London
Sprache
Verlagsort
Zielgruppe
Für höhere Schule und Studium
Produkt-Hinweis
Fadenheftung
Gewebe-Einband
Illustrationen
30 black and white illustrations
Maße
Höhe: 236 mm
Breite: 160 mm
Dicke: 15 mm
Gewicht
ISBN-13
978-1-4744-3419-5 (9781474434195)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Sarah Dillon is a feminist film and literary critic and theorist in the Faculty of English at the University of Cambridge. She is author of The Palimpsest: Literature, Criticism, Theory (2007), editor of David Mitchell: Critical Essays (2011), and co-editor of Maggie Gee: Critical Essays (2015). She is the General Editor of the book series Gylphi Contemporary Writers: Critical Essays, and broadcasts regularly on BBC Radio 3 and 4.
Autor*in
LecturerUniversity of Cambridge
Acknowledgements
Abbreviations of Works Cited by Jacques Derrida
List of Illustrations
INTRODUCTION: DEPARTING FROM PROUST
CHAPTER ONE: DECONSTRUCTION, FEMINISM, FILM
It-Woman vs We-Women
Singular Spectatorship
CHAPTER TWO: SUPPLANTING SPECTRALITY
The Incidental Philosopher
Feminist Trompe L'Oeil
Feminist Camp Artifice
CHAPTER THREE: FEMINIST COUNTERSIGNATURE
Female Infidelity
Adaptation as Reproduction
Phenomenal Film
Dorsal Philosophy?
CHAPTER FOUR: AUTO/BIOGRAPHY
Biography, or, the Realist Paradox
Quer Autobiography (directed sideways)
Obstructive Piety
'We all being everyone but you'
The Mediated 'I'
CHAPTER FIVE: HOW DO I LOOK?
He Can't See Queerly
Metonymic Reading
Veering from Borges
Bibliography
Filmography
Index
