IMDb > Derrida (2002)

Derrida (2002) More at IMDbPro »

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6.5/10   605 votes »
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Release Date:
31 January 2003 (UK) See more »
Genre:
Tagline:
What if someone came along who changed not the way you think about everything, but everything about the way you think?
Plot:
Documentary about French philosopher (and author of deconstructionism) Jacques Derrida, who sparked fierce debate throughout American academia. | Add synopsis »
Awards:
1 win & 1 nomination See more »
User Reviews:
Disaster Avoided See more (29 total) »

Cast

  (in credits order)
Jacques Derrida ... Himself
Marguerite Derrida ... Herself
René Major ... Himself
Chantal Major ... Herself

Avital Ronell ... Herself
René Derrida ... Himself
Eddie Yeghiayan ... Himself

Directed by
Kirby Dick 
Amy Ziering  (as Amy Ziering Kofman)
 
Produced by
Gil Kofman .... associate producer
Amy Ziering .... producer (as Amy Ziering Kofman)
 
Original Music by
Ryûichi Sakamoto 
 
Cinematography by
Kirsten Johnson 
 
Film Editing by
Matthew Clarke  (as Matt Clarke)
Kirby Dick 
 
Sound Department
Alan Barker .... sound mixer
Mark Z. Danielewski .... sound
Clifford 'Kip' Gynn .... sound mixer
David Scharf .... dialogue editor
 
Editorial Department
Adam Finberg .... assistant editor
Brian Jonason .... assistant editor
Matvey Shatz .... color timer
 
Music Department
Fernando Aponte .... score mixer
Fernando Aponte .... score recordist
Roberto Concina .... composer: song "Improvisations Part 2"
 
Other crew
Steven C. Beer .... producer's representative
Mike Kahne .... titles
 
Thanks
Eddie Schmidt .... thanks
 

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Additional Details

Runtime:
84 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
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13 out of 18 people found the following review useful.
Disaster Avoided, 2 July 2003

This could have been a real disaster, and even though the movie triggered a couple of cringes, it wasn't the expected trainwreck. "Derrida" was not too much of a waste. Thinking is a very difficult subject for a documentary. When filmmakers decide they want to present a great thinker, they are presented with a difficult decision: should they make a straightforward documentary concerned only with transmitting knowledge, or should they use the form to reflect the content of the thinker's work? Is accessiblity the goal of a documentary? And how much can we dilute for accessiblity's sake? I think this is one of the few cases where striking a balance between a dichotomy doesn't work. In "Derrida" the directors were trying to experiment with form and create a new audience for Derrida's work. They wanted to document Derrida's thinking. They wanted to archive the man's presense and present Derrida to a new audience. However, they felt that using the standard documentary/biography format would make Derrida's work superficially accessible. They didn't want to commit such an insult. Yet, they were not willing to alienate the audience. Thus, "Derrida" only registers as a lukewarm essay. The directors took an approach that is sold on today's market as "Self-reflexivity, the dummy's guide to artsy." "Derrida" is a series of vignettes where Derrida explains his relationship to the camera and the process by which his presence is recorded. It is a total exercise in metadiscourse, and unfortunately, this theme provides plenty of stupid irritating gimmicks with which "Derrida" proves not your standard documentary but your undergraduate film school festival The rewarding aspects of this film are not the formal experiments or anything relating to the fact that Derrida is presented as a moving image, but rather watching Derrida speak about the camera, the archive or the image. There are some excellent shots of Derrida at work. We witness his careful footwork in the field of discourse, and the director chooses the very potent passages to outline Derrida's duties as performer for no one and the role of the filmmaker in using Derrida's words to present her story. However, the director tells no story. The film offers very little beyond problematizing the roles of the actors in this production of "Derrida." And, I think what was presented would be best preserved in an essay than the series of vignettes called "Derrida."

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