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to the film itself. Derrida often challenges the filmmaking process and argues against the capability of any film to portray him accurately. The film also includes metacinematic scenes in which
Derrida analyzes previously recorded footage of himself. In one such scene, Derrida telescopically
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also focuses on
Derrida's thesis that scholars tend to ignore important biographical information when discussing philosophers' lives. In one scene, Derrida comments that he would be most interested in hearing about famous philosophers' sex lives because this topic is seldom addressed in their
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The film uses interviews shot by the filmmakers, footage of
Derrida's lectures and speaking engagements, and personal footage of Derrida at home with his friends and family. In several scenes, Ziering Kofman also reads excerpts from Derrida's work or otherwise describes aspects of his life.
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writings. The filmmakers respond to many of these criticisms by probing
Derrida on various aspects of his own personal life, though he usually refuses to answer directly questions about himself.
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is also a film about the impossibility of following, about the consequences and effects of
Derrida's work vis-Ă -vis the 'story of a life', about the idea that Derrida cannot tell a story."
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is a film about following, about the compulsiveness and ghostliness of following, of following the camera, of following the story, of following a film. But
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praised the film for its sophisticated style and said it was "the cinematic equivalent of a mind-expanding drug" while
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Dick, Kirby (2005). "Resting on the Edge of An
Impossible Confidence". In Dick, Kirby; Ziering Kofman, Amy (eds.).
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Peter
Bradshaw, found the film whimsical and entertaining but lamented Derrida's evasive and mysterious demeanor.
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Royle, Nicholas (2005). "Blind Cinema". In Dick, Kirby; Ziering Kofman, Amy (eds.).
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Tim
Merrill described it as "a priceless historical record." Other critics, like
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with university students. Derrida states that his own childhood experiences with
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and screened in competition for the Grand Jury Prize at the 2002
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Structure, Sign, and Play in the
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watches a video of himself analyzing footage of himself.
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Sick: The Life and Death of Bob Flanagan, Supermasochist
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before being released theatrically on October 23, 2002.
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Nicholas Royle argues that the film's labyrinthine,
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411:on November 24, 2009
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316:Film Threat
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36:Directed by
1136:2002 films
1130:Categories
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860:Hauntology
855:Différance
560:2009-08-30
535:2009-08-30
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440:2009-08-30
415:2009-08-30
386:References
362:screenplay
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168:85 minutes
151:2002-10-23
99:Production
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897:Free play
688:Positions
551:"Derrida"
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299:Reception
280:Ouroboros
183:Languages
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843:Concepts
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372:See also
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223:Synopsis
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