Sarah Dillon is a feminist film and literary critic and theorist in the Faculty of English at the University of Cambridge. She is author of The Palimpsest: Literature, Criticism, Theory (2007), editor of David Mitchell: Critical Essays (2011), and co-editor of Maggie Gee: Critical Essays (2015). She is the General Editor of the book series Gylphi Contemporary Writers: Critical Essays, and broadcasts regularly on BBC Radio 3 and 4.

The power of close reading clearly pays off in the very rich and provocative sections that Dillon offers on each of the films and texts she analyzes. Dillon is a skilled feminist detective, and I learned a great deal from this book. It will be of interest to scholars and graduate students studying Derrida, and to film scholars and students as well. Dillon chooses fascinating objects, homes in on revealing details, and makes a strong case for ways in which Derrida’s methodology might be utilized for feminist film critics.

• AcknowledgementsAbbreviations of Works Cited by Jacques DerridaList of IllustrationsINTRODUCTION: DEPARTING FROM PROUSTCHAPTER ONE: DECONSTRUCTION, FEMINISM, FILMIt-Woman vs We-WomenSingular SpectatorshipCHAPTER TWO: SUPPLANTING SPECTRALITY The Incidental PhilosopherFeminist Trompe L’OeilFeminist Camp ArtificeCHAPTER THREE: FEMINIST COUNTERSIGNATUREFemale InfidelityAdaptation as ReproductionPhenomenal FilmDorsal Philosophy　CHAPTER FOUR: AUTO/BIOGRAPHYBiography, or, the Realist Paradox Quer Autobiography (directed sideways)Obstructive Piety‘We all being everyone but you’The Mediated ‘I’CHAPTER FIVE: HOW DO I LOOK?He Can’t See QueerlyMetonymic ReadingVeering from BorgesBibliographyFilmographyIndex

Sarah Dillon is a feminist film and literary critic and theorist in the Faculty of English at the University of Cambridge. She is author of The Palimpsest: Literature, Criticism, Theory (2007), editor of David Mitchell: Critical Essays (2011), and co-editor of Maggie Gee: Critical Essays (2015). She is the General Editor of the book series Gylphi Contemporary Writers: Critical Essays, and broadcasts regularly on BBC Radio 3 and 4.

The power of close reading clearly pays off in the very rich and provocative sections that Dillon offers on each of the films and texts she analyzes. Dillon is a skilled feminist detective, and I learned a great deal from this book. It will be of interest to scholars and graduate students studying Derrida, and to film scholars and students as well. Dillon chooses fascinating objects, homes in on revealing details, and makes a strong case for ways in which Derrida’s methodology might be utilized for feminist film critics.

• AcknowledgementsAbbreviations of Works Cited by Jacques DerridaList of IllustrationsINTRODUCTION: DEPARTING FROM PROUSTCHAPTER ONE: DECONSTRUCTION, FEMINISM, FILMIt-Woman vs We-WomenSingular SpectatorshipCHAPTER TWO: SUPPLANTING SPECTRALITY The Incidental PhilosopherFeminist Trompe L’OeilFeminist Camp ArtificeCHAPTER THREE: FEMINIST COUNTERSIGNATUREFemale InfidelityAdaptation as ReproductionPhenomenal FilmDorsal Philosophy　CHAPTER FOUR: AUTO/BIOGRAPHYBiography, or, the Realist Paradox Quer Autobiography (directed sideways)Obstructive Piety‘We all being everyone but you’The Mediated ‘I’CHAPTER FIVE: HOW DO I LOOK?He Can’t See QueerlyMetonymic ReadingVeering from BorgesBibliographyFilmographyIndex

Sarah Dillon is a feminist film and literary critic and theorist in the Faculty of English at the University of Cambridge. She is author of The Palimpsest: Literature, Criticism, Theory (2007), editor of David Mitchell: Critical Essays (2011), and co-editor of Maggie Gee: Critical Essays (2015). She is the General Editor of the book series Gylphi Contemporary Writers: Critical Essays, and broadcasts regularly on BBC Radio 3 and 4.

The power of close reading clearly pays off in the very rich and provocative sections that Dillon offers on each of the films and texts she analyzes. Dillon is a skilled feminist detective, and I learned a great deal from this book. It will be of interest to scholars and graduate students studying Derrida, and to film scholars and students as well. Dillon chooses fascinating objects, homes in on revealing details, and makes a strong case for ways in which Derrida’s methodology might be utilized for feminist film critics.

• AcknowledgementsAbbreviations of Works Cited by Jacques DerridaList of IllustrationsINTRODUCTION: DEPARTING FROM PROUSTCHAPTER ONE: DECONSTRUCTION, FEMINISM, FILMIt-Woman vs We-WomenSingular SpectatorshipCHAPTER TWO: SUPPLANTING SPECTRALITY The Incidental PhilosopherFeminist Trompe L’OeilFeminist Camp ArtificeCHAPTER THREE: FEMINIST COUNTERSIGNATUREFemale InfidelityAdaptation as ReproductionPhenomenal FilmDorsal Philosophy　CHAPTER FOUR: AUTO/BIOGRAPHYBiography, or, the Realist Paradox Quer Autobiography (directed sideways)Obstructive Piety‘We all being everyone but you’The Mediated ‘I’CHAPTER FIVE: HOW DO I LOOK?He Can’t See QueerlyMetonymic ReadingVeering from BorgesBibliographyFilmographyIndex