00000nam a2200000 a 4500 UP-100181420919531743 Buklod 20240226144931.0 m |o d | ta 240226s1989 nju |r| 001 0 eng|| 0691008469 (paperback) 1509659 DLC DMC rda eng DMLUC PN 1995 B78 1989 Brunette, Peter author. Screen/play Derrida and film theory Peter Brunette and David Wills. Princeton, New Jersey Princeton University Press 1989. xi, 210 pages 23 cm. text rdacontent unmediated rdamedia volume rdacarrier Includes bibliographical references (pages 199-205) and index (pages 207-210). 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 Droits 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. CMC-2390 donated by Prof. Jovenal Velasco. Derrida, Jacques. Film criticism. Motion pictures. Wills, David 1953- author. FO UPD DMC PN 1995 B78 1989 Book