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In The Domestication of Derrida, Lorenzo Fabbri argues that Rorty's
powerful reading protocol is motivated by the necessity to contain
the risks of Derrida's critique of Western philosophy and politics.
Rorty claims that Derrida reduces philosophy to a production of
private fantasies that do not have any political or epistemological
relevance. Fabbri challenges such an aberrant appropriation by
investigating the two key features of Rorty's privatization of
deconstruction: the reduction of deconstructive writing to an
example of merely autobiographical literature; and the idea that
Derrida not only dismisses, but also mocks the desire to engage
philosophy with political struggle. What is ultimately questioned
in The Domestication of Derrida is the legitimacy of labelling
deconstruction as a post-modern withdrawal from politics and
theory. By discussing Derrida's resistance against the very
possibility of theoretical and political ascetism, Fabbri shows
that there is much more politics and philosophy in deconstruction
than Rorty is willing to admit.
A deep dive into Italian cinema under Mussolini’s regime and the
filmmakers who used it as a means of antifascist resistance Â
Looking at Italy’s national film industry under the rule of
Benito Mussolini and in the era that followed, Cinema Is the
Strongest Weapon examines how cinema was harnessed as a political
tool by both the reigning fascist regime and those who sought to
resist it. Covering a range of canonical works alongside many of
their neglected contemporaries, this book explores film’s mutable
relationship to the apparatuses of state power and racial
capitalism.  Exploiting realism’s aesthetic,
experiential, and affective affordances, Mussolini’s biopolitical
project employed cinema to advance an idealized vision of life
under fascism and cultivate the basis for a homogenous racial
identity. In this book, Lorenzo Fabbri crucially underscores
realism’s susceptibility to manipulation from diametrically
opposed political perspectives, highlighting the queer, Communist,
Jewish, and feminist filmmakers who subverted Mussolini’s notion
that “cinema is the regime’s strongest weapon” by developing
film narratives and film forms that challenged the prevailing
ethno-nationalist ideology.  Focusing on an
understudied era of film history and Italian cultural production,
Fabbri issues an important recontextualization of Italy’s
celebrated neorealist movement and the structural ties it shares
with its predecessor. Drawing incisive parallels to contemporary
debates around race, whiteness, authoritarianism, and politics, he
presents an urgent examination into the broader impact of visual
media on culture and society. Â Â Retail e-book files
for this title are screen-reader friendly with images accompanied
by short alt text and/or extended descriptions.
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