Deconstruction and Film

  • Robert Smith


So then. ‘Deconstruction and Film’. Not much to go on here.


Technical Medium Silent Film Film Theory Institutional Space Film Study 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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Written Works Cited

  1. Beicken, Peter and Kolken, Robert (1993), The Films of Wim Wenders: Cinema as Vision and Desire (Cambridge: Cambridge University Press).Google Scholar
  2. Brunette, Peter and Wills, David (1994), Deconstruction and the Visual Arts: Art, Media, Architecture (Cambridge: Cambridge University Press).Google Scholar
  3. Brunette, Peter and Wills, David (1989), Screen/Play: Derrida and Film Theory (Princeton, NJ: Princeton University Press).Google Scholar
  4. Derrida, Jacques (1972a), ‘La Différance’, in Marges–de la Philosophie (Paris: Minuit).Google Scholar
  5. Derrida, Jacques (1972b), ‘La Double Séance’, in La Dissémination (Paris: Seuil).Google Scholar
  6. Derrida, Jacques (1972c) ‘Signature Événement Contexte’, in Marges–de la Philosophie (Paris: Minuit).Google Scholar
  7. Derrida, Jacques (1978), La Vérité en Peinture (Paris: Flammarion).Google Scholar
  8. Derrida, Jacques (1980), ‘Spéculer–sur “Freud”’, in La Carte Postale: de Socrate à Freud et au-delà (Paris: Aubier-Flammarion).Google Scholar
  9. Derrida, Jacques (1984), ‘Logique du Vivante’, in Otobiographies: L’enseignement de Nietzsche et la Politique du Nom Propre (Paris: Galilée).Google Scholar
  10. Derrida, Jacques (1985), ‘Lecture de “Droit de Regards”’, in M.-F. Plissart, Droit de Regards (Paris: Minuit).Google Scholar
  11. Derrida, Jacques (1986), ‘Survivre’, in Parages (Paris: Galilée).Google Scholar
  12. Derrida, Jacques (1987a), ‘Ce Qui Reste à Force De Musique’, in Psyché: Inventions de L’Autre (Paris: Galilée).Google Scholar
  13. Derrida, Jacques (1987b), Feu la Cendre (Paris: Des Femmes).Google Scholar
  14. Derrida, Jacques and Stiegler, Bemard (1996), Échographies–de la Télévision (Paris: Galilée).Google Scholar
  15. Kracauer, Siegfried (1960), Theory of Film: The Redemption of Physical Reality (New York: Oxford University Press).Google Scholar
  16. Smith, Robert (1996), ‘Short Cuts to Derrida’, Oxford Literary Review, vol. 18 (1996), pp. 135–44.CrossRefGoogle Scholar
  17. 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).Google Scholar

Film Works Cited

  1. Allen, Woody, Deconstructing Harry (1997).Google Scholar
  2. Allen, Woody, Manhattan (1979).Google Scholar
  3. Antonioni, Michelangelo, Blow Up (1969).Google Scholar
  4. Buñuel, Luis, Belle de Jour (1967).Google Scholar
  5. Coppola, Francis Ford, The Godfather (1972).Google Scholar
  6. Hawks, Howard, The Big Sleep (1946).Google Scholar
  7. Hitchcock, Alfred, Vertigo (1958).Google Scholar
  8. Leigh, Mike, Secrets and Lies (1996).Google Scholar
  9. Lucas, George, American Graffiti (1972).Google Scholar
  10. McMullen, Ken, Ghost Dance (1983).Google Scholar
  11. Spielberg, Steven, Jurassic Park (1993).Google Scholar
  12. Wenders, Wim, Paris, Texas (1983).Google Scholar
  13. Zinnemann, Fred, High Noon (1952).Google Scholar

Copyright information

© Robert Smith 2000

Authors and Affiliations

  • Robert Smith

There are no affiliations available

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