Abstract
So then. ‘Deconstruction and Film’. Not much to go on here.
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Written Works Cited
Beicken, Peter and Kolken, Robert (1993), The Films of Wim Wenders: Cinema as Vision and Desire (Cambridge: Cambridge University Press).
Brunette, Peter and Wills, David (1994), Deconstruction and the Visual Arts: Art, Media, Architecture (Cambridge: Cambridge University Press).
Brunette, Peter and Wills, David (1989), Screen/Play: Derrida and Film Theory (Princeton, NJ: Princeton University Press).
Derrida, Jacques (1972a), ‘La Différance’, in Marges–de la Philosophie (Paris: Minuit).
Derrida, Jacques (1972b), ‘La Double Séance’, in La Dissémination (Paris: Seuil).
Derrida, Jacques (1972c) ‘Signature Événement Contexte’, in Marges–de la Philosophie (Paris: Minuit).
Derrida, Jacques (1978), La Vérité en Peinture (Paris: Flammarion).
Derrida, Jacques (1980), ‘Spéculer–sur “Freud”’, in La Carte Postale: de Socrate à Freud et au-delà (Paris: Aubier-Flammarion).
Derrida, Jacques (1984), ‘Logique du Vivante’, in Otobiographies: L’enseignement de Nietzsche et la Politique du Nom Propre (Paris: Galilée).
Derrida, Jacques (1985), ‘Lecture de “Droit de Regards”’, in M.-F. Plissart, Droit de Regards (Paris: Minuit).
Derrida, Jacques (1986), ‘Survivre’, in Parages (Paris: Galilée).
Derrida, Jacques (1987a), ‘Ce Qui Reste à Force De Musique’, in Psyché: Inventions de L’Autre (Paris: Galilée).
Derrida, Jacques (1987b), Feu la Cendre (Paris: Des Femmes).
Derrida, Jacques and Stiegler, Bemard (1996), Échographies–de la Télévision (Paris: Galilée).
Kracauer, Siegfried (1960), Theory of Film: The Redemption of Physical Reality (New York: Oxford University Press).
Smith, Robert (1996), ‘Short Cuts to Derrida’, Oxford Literary Review, vol. 18 (1996), pp. 135–44.
Wenders, Wim (1991), ‘Like Flying Blind without Instruments: On the Turning Point in Paris, Texas’, in Wim Wenders, The Logic of Images, trans. Michael Hofmann (London: Faber and Faber).
Film Works Cited
Allen, Woody, Deconstructing Harry (1997).
Allen, Woody, Manhattan (1979).
Antonioni, Michelangelo, Blow Up (1969).
Buñuel, Luis, Belle de Jour (1967).
Coppola, Francis Ford, The Godfather (1972).
Hawks, Howard, The Big Sleep (1946).
Hitchcock, Alfred, Vertigo (1958).
Leigh, Mike, Secrets and Lies (1996).
Lucas, George, American Graffiti (1972).
McMullen, Ken, Ghost Dance (1983).
Spielberg, Steven, Jurassic Park (1993).
Wenders, Wim, Paris, Texas (1983).
Zinnemann, Fred, High Noon (1952).
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© 2000 Robert Smith
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Smith, R. (2000). Deconstruction and Film. In: Royle, N. (eds) Deconstructions. Palgrave, London. https://doi.org/10.1007/978-1-137-06095-2_7
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DOI: https://doi.org/10.1007/978-1-137-06095-2_7
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