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008 210830t20141989nju fo d z eng d
019 _a(OCoLC)1013939434
020 _a9780691609355
_qprint
020 _a9781400860678
_qPDF
024 7 _a10.1515/9781400860678
_2doi
035 _a(DE-B1597)9781400860678
035 _a(DE-B1597)447377
035 _a(OCoLC)979633224
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN1995 -- B764 1989eb
072 7 _aPER004030
_2bisacsh
082 0 4 _a791.4301
084 _aonline - DeGruyter
100 1 _aBrunette, Peter
_eautore
245 1 0 _aScreen/Play :
_bDerrida and Film Theory /
_cDavid Wills, Peter Brunette.
250 _aCourse Book
264 1 _aPrinceton, NJ :
_bPrinceton University Press,
_c[2014]
264 4 _c©1989
300 _a1 online resource (224 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aPrinceton Legacy Library ;
_v1042
505 0 0 _tFrontmatter --
_tCONTENTS --
_tPreface --
_tCHAPTER ONE. Introduction --
_tCHAPTER TWO. Derrida and Contemporary Film Studies --
_tCHAPTER THREE. Film as Writing: From Analogy to Anagram --
_tCHAPTER FOUR. The Frame of the Frame --
_tCHAPTER FIVE. Black and Blue --
_tCHAPTER SIX. Cinema and the Postal --
_tWorks Cited --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aPeter 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 Droit 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.Originally published in 1989.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)
650 7 _aPERFORMING ARTS / Film & Video / History & Criticism.
_2bisacsh
700 1 _aWills, David
_eautore
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781400860678
856 4 0 _uhttps://www.degruyter.com/isbn/9781400860678
856 4 2 _3Cover
_uhttps://www.degruyter.com/cover/covers/9781400860678.jpg
942 _cEB
999 _c207944
_d207944