Ghost Dance
Derrida, Stiegler, and Film as Phantomachia
Bibliographic Data
| ID | 4275769 |
|---|---|
| Authors | Garry Sherbert (corresponding author) |
| Year | 2015 |
| Volume | 48 |
| Issue | 4 |
| Pages | 105-121 |
| Publication date | 2015-12-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Mosaic (JOURNAL) |
| Journal identifiers | ISSN: 0027-1276 • E-ISSN: 1925-5683 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/mos.2015.0047 |
| OpenAlex | W2266085204 |
| Language | EN |
| References cited | 2 |
Against Bernard Stiegler's ontological claim, following Roland Barthes, that in photography the photographic referent "was there," present at one time in the past, Jacques Derrida proposes in Ken McMullen's film Ghost Dance that the photographic referent is self-divided and "never had the form of presence," making film "a phantomachia
Art · Art history · Dance · Visual arts · Digital Media and Philosophy · Diverse academic research themes · Philosophy, Ethics, and Existentialism
| Citation velocity | historical |
|---|---|
| Highly cited | No |