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Derrida and Film Studies
Series: - Value Inquiry Book Series, Volume: 411
- Philosophy of Film, Volume: 411
Derrida and Film Studies views Jacques Derrida’s in-depth and meandering ideas within the realm of film. Bringing together audiovisual culture and deconstruction, the book explores the spectral turn of cinema. Seeing the phenomenon of film as impacted by deconstruction and poststructuralism, the essays offer a wide spectrum of perspectives and illustrate the reception of Derrida’s thought for a new generation of philosophers of film. Using both well-known and pioneering methodologies, this rich volume is an essential guide for understanding the importance of spectrality, hieroglyphics, writing and difference, and alterity in film.
Kamil Lipiński, Ph.D. in Philosophy, is an Assistant at the Contemporary Art Gallery Garbary 48. Alma Mater – Adam Mickiewicz University in Poznań (two degrees in Philosophy and Cultural Studies). His numerous publications include Mapowanie obrazu. Między estetyczną teorią a praktyką (Image mapping. Between Aesthetic Theory and Practice, 2022) and “French Cultural Theory: Contexts and Applications” in Sensus Historiae (Ed., 2015–2016). He was a runner-up in the 2019 Postgraduate Essay Prize awarded by the Postcolonial Studies Association/Journal of Postcolonial Writing.
Andrzej Marzec, Ph.D., Adam Mickiewicz University, is Assistant Professor in the Department of Philosophy. He has published monographs and articles on contemporary philosophy including Antropocień. Filozofia i estetyka po końcu świata (Antroposhade. Philosophy and Aesthetics after the End of the World, 2021).
Andrzej Marzec, Ph.D., Adam Mickiewicz University, is Assistant Professor in the Department of Philosophy. He has published monographs and articles on contemporary philosophy including Antropocień. Filozofia i estetyka po końcu świata (Antroposhade. Philosophy and Aesthetics after the End of the World, 2021).
Contents
Acknowledgements
List of Figures
Notes on Contributors
Introduction
Kamil Lipiński
PART 1
Derrida and the Variety of Specters – Cinema as the Haunted House
1 Jacques Derrida and Cinema as a Work of Mourning Charon
Raoul Kirchmayr
2 To Speak of Mourning or of Anything Else: The Historical Muslim Courtesan Film as a Work of Art at/of Mourning
Tirna Chatterjee and Prateek Rawat
3 Derrida on Cinema’s Spectral Images: Time, Repetition, and Belief
Susana Viegas
4 Infinite Responsibilities of The Grandmaster: Ip Man, Derrida, and Beyond
Ian Fong
5 “Vive les Fantômes!” or the Hauntology of Cinematic Image
Miłosz Stelmach
6 Derrida, the Specters of Marx and the End of History: The Presence of the Ghost in Angelopoulos’ film Ulysses’ Gaze (1995)
Nikolaos Sarafianos
PART 2
“Hieroglyphics” of Cinema: Interpreting the Writing and Différance
7 The Post Card as a Journey of Being: Destinerrance and Film Interpretation
Davide Persico
8 Stupidity in The Idiots and Au Hazard Balthazar: Derrida on the Limits of Reason
Yonathan Listik
9 Derrida’s “Hieroglyphic” Writing in a Palimpsestic Case Study
Kamil Lipiński
PART 3
Voice and Phenomenon: Tracing Speech and Sound
10 QWhat Is Reading? Absence and Presence in Silent Dialogue Intertitles
Tomer Nechushtan
11 Asonority: Derrida in Film Sound Theory
Arzu Karaduman
12 From the Oral Tradition to the Digital Text: Cinematic Différance in Dislocation Blues
Jack Rutherford
PART 4
Politics of Friendship: Ethics, Hospitality and the Other Question
13 The Experience of Cinema as an Experience of Ethics in Derrida
Mariana Almeida Pereira
14 ‘Community of Vision’: Politics and Collectivity in Derrida’s Cinema
Cillian Ó Fathaigh
15 The (Im)possibility of Friendship in Fassbinder’s Fox and His Friends: A Derridean Critique
Amresh Sinha
16 Cinema of Walten: Alterity and Worldhood in Lucrecia Martel’s The Headless Woman
Ahmet Yuce
Index
Acknowledgements
List of Figures
Notes on Contributors
Introduction
Kamil Lipiński
PART 1
Derrida and the Variety of Specters – Cinema as the Haunted House
1 Jacques Derrida and Cinema as a Work of Mourning Charon
Raoul Kirchmayr
2 To Speak of Mourning or of Anything Else: The Historical Muslim Courtesan Film as a Work of Art at/of Mourning
Tirna Chatterjee and Prateek Rawat
3 Derrida on Cinema’s Spectral Images: Time, Repetition, and Belief
Susana Viegas
4 Infinite Responsibilities of The Grandmaster: Ip Man, Derrida, and Beyond
Ian Fong
5 “Vive les Fantômes!” or the Hauntology of Cinematic Image
Miłosz Stelmach
6 Derrida, the Specters of Marx and the End of History: The Presence of the Ghost in Angelopoulos’ film Ulysses’ Gaze (1995)
Nikolaos Sarafianos
PART 2
“Hieroglyphics” of Cinema: Interpreting the Writing and Différance
7 The Post Card as a Journey of Being: Destinerrance and Film Interpretation
Davide Persico
8 Stupidity in The Idiots and Au Hazard Balthazar: Derrida on the Limits of Reason
Yonathan Listik
9 Derrida’s “Hieroglyphic” Writing in a Palimpsestic Case Study
Kamil Lipiński
PART 3
Voice and Phenomenon: Tracing Speech and Sound
10 QWhat Is Reading? Absence and Presence in Silent Dialogue Intertitles
Tomer Nechushtan
11 Asonority: Derrida in Film Sound Theory
Arzu Karaduman
12 From the Oral Tradition to the Digital Text: Cinematic Différance in Dislocation Blues
Jack Rutherford
PART 4
Politics of Friendship: Ethics, Hospitality and the Other Question
13 The Experience of Cinema as an Experience of Ethics in Derrida
Mariana Almeida Pereira
14 ‘Community of Vision’: Politics and Collectivity in Derrida’s Cinema
Cillian Ó Fathaigh
15 The (Im)possibility of Friendship in Fassbinder’s Fox and His Friends: A Derridean Critique
Amresh Sinha
16 Cinema of Walten: Alterity and Worldhood in Lucrecia Martel’s The Headless Woman
Ahmet Yuce
Index
Upper-level undergraduate students, postgraduate students, and academics, scholars and researchers. The book is intended for people studying or researching theoretical perspectives on film studies, not to mention the philosophy itself.
Courses to which the book might be relevant: film theory, film-philosophy, French philosophy, visual culture, audiovisual culture, courses on Asian cinema, Cultural Studies.
Courses to which the book might be relevant: film theory, film-philosophy, French philosophy, visual culture, audiovisual culture, courses on Asian cinema, Cultural Studies.