Screen/Play

In Screen/Play, Brunette and Wills apply Derrida's philosophy to film theory, offering innovative critiques and analyses that reshape our understanding of cinema.

In Screen/Play, Peter Brunette and David Wills explore the intersection of Jacques Derrida's philosophy and film theory, offering insightful perspectives that challenge traditional views. While Derrida himself did not directly engage with film, the authors argue that his critiques of logocentrism and his concept of 'Writing' can significantly influence cinematic analysis. They suggest that applying these ideas may help elevate film from a mere visual art form to a more prominent position within media and information sciences.

The authors begin by addressing the political reasons behind the neglect of Derrida's work in film studies, providing a compelling introduction for readers unfamiliar with his philosophy. They critique contemporary film theory through a Derridean lens, demonstrating how his ideas can reshape our understanding of cinema. By referencing lesser-known texts, such as The Truth in Painting and Droit de regards, they delve into the implications of Derrida's thoughts on film, culminating in analyses of notable films like Truffaut's The Bride Wore Black and Lynch's Blue Velvet. These analyses illustrate a radical, 'anagrammatical' reading practice that invites deeper engagement with cinematic texts.

Additionally, Screen/Play revisits Derrida's overlooked work, The Post Card, situating cinema within a redefined technological framework. Originally published in 1989, this book remains relevant, shedding light on the evolving relationship between philosophy and film. The Princeton Legacy Library ensures that such significant works are accessible to a new generation of readers, preserving the original texts for future scholarship.