There is something necessarily problematic, though, about this double framing
. Part of this has to do with what Lawtoo calls the "conceptual difficulties" posed by Lacoue-Labarthe's work as a whole, which, like Derridas work, keeps returning to a set of key terms, most of which come from his engagement with Heidegger--above all, "myth," "mimesis," and "techne"--and all of which require extensive reflection on, annotation, and contextualization of the legacy of French philosophical discourse shared by Derrida, Nancy, and Lacoue-Labarthe.
reproduction of the real production; an acknowledged representation of a representation." Yet this dutiful genuflection toward the self-critical image does little to detract from the fact that these mildly disconcerting, flickering pictures are visually lush and intensely seductive, and O'Malley also acknowledges that the distancing mechanism of the double framing
within these works may have the paradoxical effect of actually intensifying "the aura of the original moment" rather than diminishing it.