Cinema is, for Jacques Derrida, at once the “medium,” the “apparatus,” and the “experience” that proffers a historically unprecedented instantiation of the logic of spectrality. Of cinema, Derrida would almost exclusively have spoken, his remarks dispersed in a smattering of (nonetheless significant) interviews or, indeed, films, as though the written word was to withdraw into a rare resistance when it came to matters cinemato-graphic. As Derrida's reference to two types of writing machine, indicates contemporary “teletechnologies” consisting of machines like the cinema, the camera, TV, and photography, but also the internet, digital imaging, and so on. Derrida's reflections on the photographic image are of particular interest in the present context inasmuch as they persistently come up against the “objections” addressed to deconstruction, as it were, by Roland Barthes's highly influential Camera Lucida.