Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-x5gtn Total loading time: 0 Render date: 2024-06-11T21:46:07.611Z Has data issue: false hasContentIssue false
This chapter is part of a book that is no longer available to purchase from Cambridge Core

15 - Jacques Derrida

from II - POLITICS OF THE CINEMATIC CENTURY

Louise Burchill
Affiliation:
American University of Paris
Felicity Colman
Affiliation:
Manchester Metropolitan University
Get access

Summary

Jacques Derrida (1930–2004) was born in Algiers and educated at the École Normale Supérieure and Harvard University. He held appointments teaching philosophy at the Sorbonne and École Normale Supérieure in Paris. In the United States he was a visiting Professor at Johns Hopkins University, Yale University, New York University, Stony Brook University, and The New School for Social Research. He was Professor of Humanities at the University of California at Irvine. Derrida was director of studies at the École des Hautes Études en Sciences Sociales in Paris. With François Châtelet and others he co-founded the Collège International de Philosophie (CIPH) in 1983 Derrida's extensive publications include Writing and Difference (1967; English trans. 1978), Of Grammatology (1967; English trans. 1976), Speech and Phenomena (1967; English trans. 1973), Glas (1974; English trans. 1986), The Truth in Painting (1978; English trans. 1987), Right of Inspection (1985; English trans. 1998), Spectres of Marx (1993; English trans. 1994) and Archive Fever (1995; English trans. 1996). He is co-author of Echographies of Television (1996; English trans. 2002).

DERRIDA AND THE (SPECTRAL) SCENE OF CINEMA

Derrida's scene of cinema is haunted, its every nook and cranny host to a pandemonium of phantoms, ghosts, shadows and spectres whose ethereal proliferation and enigmatic traces plot the space–time coordinates of not only the cinematic spectacle but its very “apparatus” as a repeated rerun of the (non-)living (non-)dead. Declaring the “cinematic experience” to partake, in its every aspect, of “spectrality”, film in its very materiality, as projected on the screen, to be a “phantom”, the screen itself to have a “structure of disappearing apparition” and the cinematic image a structure that is “through and through spectral”, Derrida gestures towards a thought of cinema that is obviously irreducible to “crude phantasmagoria” or a thematic focus on the “representation of phantomality”, as with horror films and their cortege of ghouls, vampires and the resurrected.

Type
Chapter
Information
Film, Theory and Philosophy
The Key Thinkers
, pp. 164 - 178
Publisher: Acumen Publishing
Print publication year: 2009

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×