"Derrida" by Kirby Dick, Amy Ziering Kofman (2002)

Directors Kirby Dick (Kirby Dick) and Amy Kofman Tsiring (Amy Ziering Kofman) enrolled in Derrida's philosophy at Yale University in the 80's. Pretty impressed by the individual doctor, they decided to make a full-length portrait of Derrida, that the descendants of him is not judged only by his not always understand the texts, but also by the charm that he exudes in direct contact with his disciples and opponents. Shooting period lasted for a few years.
Derrida appears here not only as author of philosophical texts, but also in their daily teaching, a passerby, a friend and so on, not only as narrator but also as a special aesthetic object, which, in the spirit of the whole philosophy of the French thinker, is subjected to deconstruction course of the deployment of the movie.

The crucial example for Derrida is the case of speech and writing, which is discussed in Grammatology. Thinkers interpreted it as a natural, direct form of language and underestimated the letter, seeing it as a derivative form, substitute living speech. Thus, they were pushed into the background the most important properties of language, to establish his understanding of the idealized model of speech, particularly on the experience of his own speech, when the value appears directly to the audience. A letter was left on the sidelines as an impersonal and empty vehicle records, but it can be shown that this seemingly empty repetition is the condition for the existence of any marks, but the very question to be considered as a version of the letter - the letter in the generalized sense, which is a precondition of speech and writing in narrow sense. Such inversion undermines logocentrizm hierarchy and exposes those properties of language, which had been superseded and suppressed.


To sum up what Derrida did in his works, in the following five paragraphs. (1) Derrida demonstrates the vitality logocentrizm in Western thought and the undecidability of its paradoxes, as well as the unlikelihood of overcoming it, because any criticism logocentrizm relies ultimately on logocentrizm concepts. (2) Derrida points to the importance of the elements that seem marginal, and the dependence of systems from the fact that they displace and suppress. (3) Derrida develops the technique of interpretation, unusual for a philosophy, because it uses the resources of the rhetoric of the text, and productive for literary criticism, studies the language and its paradoxical nature. (4) Although Derrida does not propose his own theory of language, his deconstruction of the other theories shows that the value is a product of language rather than its source, and that it can never be completely certain, as a result of the contextual forces that can not be restricted. (5) Finally, the work of Derrida questioned the different concepts on which we are accustomed to rely, such as the origin, presence, I am human, showing that they have more results than pure givenness or grounds.

In his early works, Derrida examines the texts of Plato, Kant, Rousseau, Hegel, Husserl and Freud. In later works - Gla (Glas, 1974), Truth in Painting (La Verit en peinture, 1978) and post card (La Carte postale, 1980) - he experimented with designs that can be called literary rather than philosophical. His work - is a continuous study and challenge the borders of literature and philosophy.

Director: Kirby Dick, Amy Ziering Kofman
Production Land : England
Run time: 88 min

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Special subjects 2000 DVD-Rip HDTV Documentary Art-house Biography

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