Inhaltszusammenfassung

The essay takes a look at Jacques Derrida's appearances on film in order to trace, through the concept of "spectralité," an alternative form of sincerity. Michael Bachmann treats spectrality on an iconic and discursive level, while it is also inscribed ino the films' media-specific system of belief. Derrida has published several texts dealing with this spectral logic in which something supposedly sincere--testimony or confession, for instance--is necessarily haunted by the possibility of fict...The essay takes a look at Jacques Derrida's appearances on film in order to trace, through the concept of "spectralité," an alternative form of sincerity. Michael Bachmann treats spectrality on an iconic and discursive level, while it is also inscribed ino the films' media-specific system of belief. Derrida has published several texts dealing with this spectral logic in which something supposedly sincere--testimony or confession, for instance--is necessarily haunted by the possibility of fiction. Bachmann argues that in these films, Derrida on film--poised between his image and its other--is staged, and stages himself, as a ghost. He thus authorizes his philosophical discourse in the form of a "spectral" sincerity that seeks to escape conventional binaries such as truth and fiction. In Derrida's own "projection" of thoughts, sincerity relates to their mise en scène rather than to their actual "truth."» weiterlesen» einklappen

Autoren

Klassifikation

DFG Fachgebiet:
Literaturwissenschaft

DDC Sachgruppe:
Öffentliche Darbietungen, Film, Rundfunk