Timothy James Holland

Situated at the intersection of film and media studies, literary theory, and continental philosophy, The Traces of Jacques Derrida's Cinema provides a trenchant account of the role of cinema in the oeuvre of one of the most influential philosophers of the twentieth century, Jacques Derrida (1930-2004). The book is animated by Derrida's self-confessed passion for the movies, his reluctance to write about film despite the range of his corpus, and the generative encounters arising between his legacy and the field of film and media studies as a result. Given the expanse of its references, interdisciplinarity, and consideration of Derrida's approach to the experience of both spectatorship and the act of being filmed, The Traces of Jacques Derrida's Cinema contributes to the ongoing close analyses of the philosopher's work while also providing a rigorous introduction to deconstruction.

The conventional approach to international development by civil society—that is, the installation of “Western” programs and institutions by “Western” groups in “underdeveloped” regions—has remained largely unchanged since global poverty reduction, whether for political or social justice motivations, gained prominence in public discourse after World War II. Yet poverty rates, literacy, life expectancy, and unemployment in one of the poorest regions of the world, sub-Saharan Africa, has remained the same if not worsened since the 1970s . And, still, the great Development Project continues: Problems in under-resourced areas are identified by well-meaning people from well-resourced areas, proposals to solve those problems are crafted by project managers and submitted to government and nongovernmental agencies, and successful projects are implemented by other well-meaning people who, for the most part, honestly want to make a difference. This is the system in which Priya seems to ..