Deconstruction, Feminism, Film

Inbunden, Engelska, 2018

AvSarah Dillon

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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.

Produktinformation

Utgivningsdatum2018-06-05
Mått156 x 234 x 19 mm
Vikt400 g
FormatInbunden
SpråkEngelska
Antal sidor184
FörlagEdinburgh University Press
ISBN9781474434195

Tillhör följande kategorier

Film inom Kultur
Genusvetenskap inom Samhälle och politik

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.

AcknowledgementsAbbreviations of Works Cited by Jacques DerridaList of IllustrationsINTRODUCTION: DEPARTING FROM PROUSTCHAPTER ONE: DECONSTRUCTION, FEMINISM, FILMIt-Woman vs We-WomenSingular SpectatorshipCHAPTER TWO: SUPPLANTING SPECTRALITY The Incidental PhilosopherFeminist Trompe L’OeilFeminist Camp ArtificeCHAPTER THREE: FEMINIST COUNTERSIGNATUREFemale InfidelityAdaptation as ReproductionPhenomenal FilmDorsal Philosophy　CHAPTER FOUR: AUTO/BIOGRAPHYBiography, 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 QueerlyMetonymic ReadingVeering from BorgesBibliographyFilmographyIndex

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.