Parametri
- 210pagine
- 8 ore di lettura
Maggiori informazioni sul libro
Peter Brunette and David Wills extend Jacques Derrida's ideas into film theory, revealing rewarding insights. Although Derrida did not directly address film, the authors argue that his critique of logocentrism and the concept of Writing can be applied to film analysis. This perspective may shift film's traditional role in the visual arts towards a new position within media and information sciences. The book serves as an engaging introduction to Derrida for general readers, explaining why film theorists have often overlooked his work. It presents a Derridean critique of contemporary film studies assumptions and incorporates insights from Derrida's texts, including The Truth in Painting and Droit de regards, in relation to cinema. The authors analyze two films—Truffaut's The Bride Wore Black and Lynch's Blue Velvet—demonstrating a radical reading practice. They also explore Derrida's overlooked work, The Post Card, situating cinema within a new technological framework. Originally published in 1989, this edition is part of the Princeton Legacy Library, which aims to enhance access to the scholarly heritage of Princeton University Press, preserving important texts in durable formats.
Acquisto del libro
Screen/Play, Peter Brunette, David Wills
- Lingua
- Pubblicato
- 1989
- Rilegatura
- (In brossura),
- Condizioni del libro
- In buone condizioni
- Prezzo
- 4,79 €
Metodi di pagamento
Ancora nessuna valutazione.
- Titolo
- Screen/Play
- Sottotitolo
- Derrida and Film Theory
- Lingua
- Inglese
- Autori
- Peter Brunette, David Wills
- Editore
- Princeton University Press
- Pubblicato
- 1989
- Formato
- In brossura
- Pagine
- 210
- ISBN10
- 0691008469
- ISBN13
- 9780691008462
- Serie
- Tag
- Descrizione
- Peter Brunette and David Wills extend Jacques Derrida's ideas into film theory, revealing rewarding insights. Although Derrida did not directly address film, the authors argue that his critique of logocentrism and the concept of Writing can be applied to film analysis. This perspective may shift film's traditional role in the visual arts towards a new position within media and information sciences. The book serves as an engaging introduction to Derrida for general readers, explaining why film theorists have often overlooked his work. It presents a Derridean critique of contemporary film studies assumptions and incorporates insights from Derrida's texts, including The Truth in Painting and Droit de regards, in relation to cinema. The authors analyze two films—Truffaut's The Bride Wore Black and Lynch's Blue Velvet—demonstrating a radical reading practice. They also explore Derrida's overlooked work, The Post Card, situating cinema within a new technological framework. Originally published in 1989, this edition is part of the Princeton Legacy Library, which aims to enhance access to the scholarly heritage of Princeton University Press, preserving important texts in durable formats.