Deconstruction, Feminism, Film / / Sarah Dillon.

• Superior document: Title is part of eBook package: De Gruyter Edinburgh University Press Complete eBook-Package 2018
• VerfasserIn: Dillon, Sarah,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2018
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (184 p.) :; 30 B/W illustrations
• Other title: Frontmatter --; Contents --; Figures --; Acknowledgements --; Abbreviations of Works Cited by Jacques Derrida --; Introduction: Departing from Proust --; CHAPTER ONE Deconstruction, Feminism, Film --; CHAPTER TWO Supplanting Spectrality --; CHAPTER THREE Feminist Countersignature --; CHAPTER FOUR Auto/biography --; CHAPTER FIVE How Do I Look? --; Bibliography --; Filmography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781474434201; 9783110780437
• DOI: 10.1515/9781474434201
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Sarah Dillon.

Examines and critiques Derrida’s work in relation to gender, sexuality and filmIncludes a detailed critique of Derrida’s thinking about gender, sexuality, film and the visualAn active work of film philosophy, performing its general philosophical work through singular close readings Theorises and performs the possibilities of a deconstructive feminist film critical practiceOffers new feminist theories of key concerns of film studies including spectatorship, realism vs artifice, narrative, adaptation, auto/biography and the stillPlaces key deconstructive visual texts within their cinematic as well as philosophical contextsThe 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.