“for feminist filmmakers, auto/biography is always a political act, precarious and contingent, both singular and general” (124). Chapter five starts with a note that Derrida never produced a systematic examination of a filmic text, and the closest he approached writing about cinema is in his comments about a photonovel. This is perhaps the best chapter in this excellent book, as it turns its gaze to what Derrida can possibly offer to feminist film criticism, and it undertakes the problem of representation and develops a theory of metonymic reading. Derrida “cannot see queerly,” Dillon tells us (138), but he does suggest a method of “metonymic reading” which Dillon herself successfully uses in her study. Deconstruction, Feminism, Film is brilliantly argued and refreshingly feminist. It is highly recommended to all film-studies scholars interested in the philosophical dimensions of the film, especially in the female spectator position and its feminist deconstruction.

中文翻译：

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电影和电视上的曼森家族，作者：伊恩·库珀（Ian Cooper）。杰斐逊，北卡罗来纳州：麦克法兰，2018年.213页，39.95美元。

“对于女权主义电影制片人来说，汽车/传记总是一种政治行为，pre可危和偶然性，无论是单数的还是笼统的”（124）。第五章开头提到，德里达从未对电影文本进行过系统的检查，而他接触电影的最接近之处在于他对摄影小说的评论。这也许是这本优秀著作中最好的一章，因为它把目光转向了德里达可以为女性主义电影批评提供的东西，并且它处理了代表性问题并发展了转喻阅读理论。狄龙告诉我们，德里达“看不见”（138），但是他的确提出了一种“转喻阅读”的方法，狄龙自己在研究中成功地使用了这种方法。解构主义，女权主义，电影极富争议性，令人耳目一新。