From the editors:
“For purposes of economy, we will but briefly outline three paths of inquiry that the authors in this issue examine but that also remain open to debate and further inquiry and refinement. (1) What was cinema for Derrida? What is Derrida’s cinema? These questions require an approach that is historical and biographical but also speculative and theoretical. (2) What is Derrida’s thought for cinema and for film and media studies? Here one may parse both Derrida’s remarks about photographic media and the manner in which his work not directly addressed to cinema may nevertheless offer a valuable path for thinking with and through media. (3) What is cinema and what is film and media studies for Derrida and deconstruction? Or put another way, what would deconstruction be if, in a serious and sustained manner, its practitioners read film and media theory and critically engaged with cinematic media? We have assembled reflections on the generative encounters between Jacques Derrida and Derridean-inspired thinking and the variable configurations of technologies, techniques, texts, cultural practices, infrastructures, and institutions called cinema.
 As Derrida’s corpus continues to grow through translations and commentaries such as those provided in this issue, so do the contours, scenes, and “proper” places of and for what is called deconstruction. And yet, by contributing to this dilation, we do not mean to suggest that cinema is now, finally, in any sense deconstructed (as if any deconstruction could be rendered terminal). Instead, this special issue aims to inform and converse with a longer history of similar interventions, while also serving as a stepping stone for those to come.”
 This special issue is available on JSTOR<>, as well as in print<>.

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