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Katharine Cox and Kate Watson

THE TATTOO SPEAKS Focusing specifically on two periods of tattoo renaissance (1851–1914, and c. 1955 to the present), 1 this collection establishes the tattoo as a key genre convention and mimetic device that marks and remarks crime and detective narratives in complex ways. In choosing the subtitle for this book, we were mindful of Jacques Derrida’s concept of ‘re-marking’ ( 1992 ). 2 In his discussion of writing, Derrida uses the term to refer to a simultaneous act of difference and communality in writing

in Tattoos in crime and detective narratives
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Signature, event, context
Steven Marsh

’s cameo appearances in his own films), the identifying stylistic flourish of the cineaste. In contrast with the North American critics’ concept, Jacques Derrida’s notion of the signature, while sharing the former’s view of it as distinctive excess, focuses upon its function within what he terms ‘spacing’, i.e. the gap – the temporal deferral of the present, the spatial displacement of presence

in Hispanic and Lusophone women filmmakers
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Modes of reading in Marxist-socialist and post-Marxist-socialist Television drama criticism
Geraldine Harris

language, discourse or symbolic systems. Influenced by ideas from Derrida and Foucault but developed by a wide range of feminist, postcolonial and queer theorists, in this paradigm (contrary to some interpretations), the existence of the ‘real’, of nature, or of a biological or metaphysical essence of human subjectivity is not denied. Rather it is posited that there is no access to reality, nature M410 HARRIS TEXT.qxd 14 20/7/06 11:35 AM Page 14 Phil's G4 Phil's G4:Users:phil:Public Beyond representation or subjectivity except through linguistic and discursive

in Beyond representation
Robin Nelson

-related as in the past (e.g. Renault Velsatis with Six Feet Under and Shameless).12 On the domestic front, the television apparatus now approximates to the cinema screen in dimension, aspect ratio, image and sound quality. The distinction between TV drama, made-for-TV movie and TV movie is increasingly blurred in terms of the technical quality of product. At a theoretical level, the influential intellectual force of poststructuralism has produced a perhaps dominant mindset in culture involving a softening of conceptual boundaries in the wake of Derrida’s différance

in State of play
Romantic attractions and queer dilemmas (Queer as Folk)
Geraldine Harris

concept of ‘queer’ is said to have emerged from US-based activist groups such as ACT-UP (the AIDS Coalition to Unleash Power), founded in the late 1980s, and Queer Nation, founded in 1990. However, discussing ACT-UP, Tim Edwards asserts that: Its ideas are not only premised on the identity and community politics of the 1970s, it also supplements these with a more academic poststructuralist emphasis upon representation and meaning, and places a centrality on the plurality of identity that comes from the work of Foucault, Lacan and Derrida, as well as a whole host of

in Beyond representation
From Madonna to Ally McBeal
Geraldine Harris

paradigm shift might be viewed in relation to ‘French Feminism’ of the 1970s and 1980s. This usually signifies the work of Hélène Cixous, Julie Kristeva and Luce Irigarary, although there are important differences between these three thinkers. Nevertheless, in general terms, they all use poststructuralist linguistic and psychoanalytical theory, mostly drawn from Jacques Derrida and Jacques Lacan, to perform a first- and (arguably) second-stage deconstruction of the western, patriarchal ‘phallologocentric’ symbolic system, that constructs woman and/or the feminine as the

in Beyond representation
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Sarah Leahy and Isabelle Vanderschelden

published screenplays – often associated with the marketing of the films – but these do not, of course, provide evidence of the process of development. 28 Even when archives are available, such research is beset with its own methodological difficulties and challenges. In her consideration of Jacques Derrida’s Archive Fever , Carolyn Steedman ( 2001 : 1175) reflects on the nature of the

in Screenwriters in French cinema
Nelly Kaplan, Jan Švankmajer, and the revolt of animals
Kristoffer Noheden

University Press , 2003 . ——— . ‘ The Praying Mantis: From Biology to Psychoanalysis ’. In The Edge of Surrealism: A Roger Caillois Reader , edited by Claudine Frank , translated by Claudine Frank and Camille Naish , 69–81 . Durham, NC : Duke University Press , 2003 . Calarco , Matthew . Zoographies: The Question of the Animal from Heidegger to Derrida . New York : Columbia University Press , 2008 . Carrington , Leonora . The Hearing Trumpet . London : Penguin , 2005 . Clark , John P. The Impossible

in Surrealism and film after 1945
genre in Franju’s longs métrages
Kate Ince

, whose reputations in the 1960s were built partly on the successful incorporation of elements of film noir and the suspense thriller into their early work. To do this I shall rely on the idea of genre as a ‘mark’ made influential in contemporary genre theory by Jacques Derrida’s essay ‘The law of genre’ ( 1980 ). In his essay, Derrida points out that in order to belong to a particular genre, texts have to be marked as so

in Georges Franju
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Jason Jacobs

the end of that decade make a decisive impact on the humanities, although the full devastation of this shift would not be felt until decades later.34 Recalling his teaching in the early 1970s, shortly after meeting Derrida in Paris, Stanley Cavell wrote, ‘the new criticism […] famously understood to be represented at Yale by W.K. Wimsatt and Cleanth Brooks and Robert Penn Warren had no fight left in it to match the excitement and intensity of literary and philosophical interpretation of the new thing from Paris’.35 One aspect of New Criticism that may have attracted

in David Milch