Deconstruction, Feminism, Film

By: Sarah Dillon

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Paperback | 30 January 2019

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184 Pages

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23.4 x 15.6 x 1.4

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The writings of Jacques Derrida have had a profound but complex influence on both film studies and on feminism. In the first work of its kind, Deconstruction, Feminism, Film explores the interconnections between these three fields through detailed filmic and philosophical close readings. Employing a dual feminist methodology of critique and generation, this book probes the feminist faultlines in Derrida's thought and generates original feminist insight into key concerns of contemporary film studies, including spectatorship, realism vs artifice, narrative, adaptation, auto/biography and the still. In theory and in practice, Deconstruction, Feminism, Film performs the possibilities of a new twenty-first century feminist spectatorship.

Industry Reviews

In this meticulous and welcome intervention into Derrida scholarship, Dillon creates feminist film philosophy from analyses of female-female intimacy in a range of visual forms, from autobiography and documentary film, to fiction and the photonovel. She draws out these contributions to feminist film thinking through close readings that demonstrate the potential for Derridean ideas in relation to film theory and criticism, and the empowerment of the singular, embodied, spectator. This book interrogates the encounters between Derrida and film, and opens a new avenue of investigation replete with possibilities for feminist critique and creative philosophical film analysis.'--Lucy Bolton, Queen Mary University of London
The power of close reading clearly pays off in the very rich and provocative sections that Dillon offers on each of the films and texts she analyzes. Dillon is a skilled feminist detective, and I learned a great deal from this book. It will be of interest to scholars and graduate students studying Derrida, and to film scholars and students as well. Dillon chooses fascinating objects, homes in on revealing details, and makes a strong case for ways in which Derrida's methodology might be utilized for feminist film critics.--Lori Jo Marso, Union College "Hypatia"

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