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The metaphor of the knotted thread is not a mere metaphor in Derrida’s homage to the work of Emmanuel Levinas. His own essay, “At this very moment in this work here I am,” is itself structured as a th...
In ‘Meaning and Sense’ (1964), Emmanuel Levinas tries, as he so often does, to explain why the ‘face’ that is such a loaded term in his writings is not the kind of face that we may think that we know:...
From its beginning, film set forth a new scene for ethical and moral engagement. For more than a century, film’s frame and image have opened fresh space for enacting ethical and moral conflicts and di...
To be ashamed of one’s immorality is a step on the ladder at the end of which one is ashamed also of one’s morality.(Friedrich Nietzsche, Beyond Good and Evil)Prior to the productive encounters that c...
When considering possible theoretical perspectives for an ethical conceptualisation of erotic or sexually explicit display in cinema, such as recent controversial work by French female directors Cathe...
Love is not stronger than death. In Death and Time (La Mort et le temps, 1991) Levinas reminds us that, contrary to how it is often quoted or remembered, The Song of Solomon says that love is as stron...
The cinema has long reigned as the kinetic medium of the twentieth century. Early in its development it secured its privilege over the more traditional arts through its unprecedented control and manip...
Fragile Faces:Levinas and Lanzmann     Fragile Faces  Levinas  Lanzmann       2009/11/25
In recent years, the concept of a ‘prohibition against representation’ and its ethical and political implications for artistic practices past, present and future have been subjected to renewed critica...

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