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Topic: Chantal Akerman

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	Chantal Akerman (Site not responding. Last check: 2007-08-20)
		Akerman further reinforces the themes of instinctuality and dispossession through acts of dislocation and migration: physical objects (the re-arrangement of furniture), self (hitchhiking), and emotional attachment (abandonment of her lover).
		Chantal Akerman presents a structurally challenging, yet emotionally honest, understatedly humorous, and visually compelling choreography of motion, rhythm, and passion in Toute une nuit.
		Perhaps the most Bressonian of Chantal Akerman's minimalist and dedramatized cinema (most notably, in the bookend structure and psychological deconstruction of A Gentle Woman), La Captive is an elegantly sinuous and provocative exploration of obsession, madness, and intimacy.
	www.filmref.com /directors/dirpages/akerman.html (2202 words)

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		Akerman's filmography to date includes some thirty-two films, ranging from shorts to feature length productions, from documentary to narrative fiction; she has shot in color and fl and white, from video to 16mm to 35mm.
		Though Akerman's work is very different from Godard's, she shares with him a concern for filming the movement of the apparatus as it constructs meanings, a movement that goes in both directions at once: forward toward the finished product and backward toward the conditions that made the vision of that product possible.
		Akerman recorded the sound for the film live, then remixed it in its entirety; often the sound is the dominant element of the sequence and exceeds the image and its duration.
	jefferson.village.virginia.edu /pmc/text-only/issue.995/review-3.995 (1556 words)

	Chantal Akerman: SELFPORTRAIT/AUTOBIOGRAPHY
		Akerman appears in the story as the "daughter from Menilmontant," and at times the "I" of the mother slips seamlessly into the "I" of the daughter; references to "my husband" become "my father" without warning or disruption.
		Akerman's cinematography relies on attenuated movement and muted color; in both D'Est and Jeanne Dielman, these considerations signify the general bleakness of the observed lives.
		This contradiction functions for Akerman as a kind of meditation, so that while in one respect there is little progression in her work and it doesn't seem to matter where one tunes in or turns away, in another sense to blink is to miss something crucial, transformative.
	www.hoverground.com /chantal (629 words)

	filmjourney.org : Chantal Akerman
		Although Akerman is merely in her fifties, she has in fact produced around 40 films in a wide variety of modes (documentary, personal essay, drama, romantic comedy, even a musical) and in a variety of formats and venues.
		Akerman's film is a collection of footage (shot by cinematographer Babette Mangolte, a filmmaker in her own right) of New York City in the mid-'70s involving tracking shots and static, formal compositions.
		Akerman once again offers a reflection on people and landscape, home and happiness by depicting the border and its inhabitants through her arsenal of stylistic tactics--formal compositions and extended tracking shots--along with interviews and another first: sporadic, nondiegetic music.
	filmjourney.weblogger.com /2004/03/16 (1280 words)

	A couch in New York : Chantal Akerman and sex in the city
		Akerman's whimsical and economical deployment of the standard conventions of the genre allows the director to expand on a comic sensibility that is an understated but nevertheless significant element in her work.
		Akerman's film both draws on and deliberately overstates a number of the features of this cycle, but is also a transitional text, anticipating a further shift in the genre towards the end of the decade and beyond.
		Akerman's tilt at the romantic comedy is thus both consistent with the formal and thematic preoccupations that characterise her work and, given its mainstream generic trappings, an unusual Akerman proposition.
	www.latrobe.edu.au /screeningthepast/firstrelease/fr1201/rcfr13a.htm (5643 words)

	Varsity Arts & Culture -- The many faces of Chantal Akerman (Site not responding. Last check: 2007-08-20)
		Akerman's idiosyncratic films (29, including shorts) resist easy summary because of her eclectic means of grappling with problems in representing individuals and reality (though she often connects this to a strong examination of loneliness).
		Akerman is clear on how she doesn't want to do this, saying, "I don't want to show myself by showing myself." That she's on screen when she says this-sitting in a carefully composed shot in her own apartment, presumably because the producers required it-leads into a prepared deconstruction.
		Akerman's minimalist intro acknowledges that in her movement from the underground to French living rooms, she has to justify her position as an artist worthy of deification to continue making movies.
	www.varsity.utoronto.ca /archives/118/mar05/review/many.html (1390 words)

	REDCAT: Season - Film/Video: Chantal Akerman: I...you... he... she...
		A true independent filmmaker, Akerman writes or co-writes all her screenplays, and her films outline an autobiography of sorts, willfully exploding the boundaries of sex, race, ethnicity, genre, language, and geography.
		Akerman's interpretation produces a more interesting (transgressive) structure: a woman attempting to look at another woman who loves women through the eyes of a man who tortures himself by trying to understand female homosexuality from the inside.
		Akerman's classically composed shots seem suspended in time, not only as a result of their duration but also from the historical weight of the experiences recounted.
	redcatweb.org /season/film/akerman.html (1932 words)

	slant // magazine.com: Film Review - Jeanne Dielman
		As esteemed critic Manny Farber noted, Akerman's portrait of the daily household routines and self-imposed patterns of a Belgian single mother successfully merged such diverse generic movements as the matriarchal passion play, the architectural ethnography, and the non-narrative examinations of filmed space pioneered by Michael Snow and Andy Warhol into one cohesive precis.
		Akerman cuts to a long take of Jeanne sitting at her dining room table with blood on her hands as dusk falls and the film comes to an abrupt conclusion.
		The space that Akerman allows her audience to ruminate over their own interpretations and postulations is as generous and unlimited as the space she gives Jeanne (or rather, the space she allows Jeanne to give herself) is constricted.
	www.slantmagazine.com /film/film_review.asp?ID=709 (1424 words)

	AS/SA Nº 8, p.441; Zelechow: "The Formalist Film-Maker with a Subtext"
		Akerman trains her camera on appearance's facade by that offering a simulacrum of unorganized, meaningless phenomena lacking teleological significance.
		In Akerman's work the tropic strains reward the viewer with an experience of fractured identity, the pain of the harrowing past, and the gulf separating the generations and the resulting vacuum.
		While Akerman does not mention the holocaust, or ethnic particularity, the shoah is the central traumatic event of her oeuvres.
	www.chass.toronto.edu /french/as-sa/ASSA-No8/BZ1.html (808 words)

	Chantal Akerman - 'Absence and Imagination in Documentary Film: A Discussion with Chantal Akerman', June 2001, European ...
		Akerman: Film is a heroic work, compared to installations, where you can see the result right away, sometimes after making a single gesture.
		Akerman: I do it for me. For example, when I edited 'The Captive' I tried to make it as tense as possible, so that you are swallowed by it, you can breathe less and less and less.
		Akerman: This is the case for both Resnais' 'Night and Fog' and for Lanzmann.
	www.egs.edu /faculty/akerman/akerman-absence-and-imagination-2001.html (2653 words)

	Contour 2005 (Site not responding. Last check: 2007-08-20)
		Chantal Akerman is known as a film maker, but in the past few years she has re-used images from her feature films and documentaries for her own form of visual arts, namely video installations with an interaction between the different screens or monitors.
		An interview with Chantal Akerman about too much and not enough cinema Chris Dercon, 1995 (This interview with Akerman was recorded in Paris on the occasion of the presentation of her installation D'Est: au bord de la fiction in the Galerie Nationale du Jeu de Paume.
		Chantal Akerman: It’s not just films on films, they are films.
	www.mechelen.be /contour/UK/ca.htm (1428 words)

	Chantal Akerman: A Family in Brussels Press Release (Site not responding. Last check: 2007-08-20)
		Laced with autobiographical references and embodying multiple viewpoints, this theatrical reading is informed by Akerman's singular voice as she muses on familial relations, communication, and closeness and distance.
		Chantal Akerman was born in Brussels, Belgium, in 1950.
		Akerman exhibited D'Est (1993), a multi-projection portrait of Eastern Europe, at the Jewish Museum in 1997.
	www.diacenter.org /dia/press/akerman.html (506 words)

	The Films of Chantal Akerman (Site not responding. Last check: 2007-08-20)
		The films of Chantal Akerman have had a profound impact on both feminist filmmaking discourse and avant-garde cinema.
		The contributors, who are some of the key figures in contemporary feminist moving image discourse, explore the themes with which Akerman is preoccupied: sexuality and lesbian identity, subjectivity, alterity, quotidian reality, the mother-daughter relationship and Jewish diasporic identity, amongst others.
		Akerman continually pushes back the representational and narrative boundaries of the film medium, urging us to contemplate the possibilities of the manufactured moving image, silence or dialogue, a static camera or one that joyously participates in the action.
	eng-wdixon.unl.edu /akerman.html (327 words)

	Chicago Reader Movie Review
		Chantal Akerman by Chantal Akerman--made for the venerable French TV series "Cinema of Our Time" (originally called "Filmmakers of Our Time," it stretches back to the 60s)--opens with a long shot of a simply furnished officelike room.
		Then Akerman speaks about her grandmother, who did huge paintings, none of which seems to have survived (and which she knows about only through her mother), and reflects a little on the implications of this for her own work--citing the Second Commandment and Jewish taboos against visual representation, especially art produced by and about women.
		Akerman appears in almost a third of the films excerpted here--more if one adds a couple in which we hear her offscreen voice--and one of the fascinations of this critical and selective tour is watching her own gestures being reproduced in other films by some of her actresses.
	www.chireader.com /movies/archives/1097/10247.html (914 words)

	The Films of Chantal Akerman
		Akerman the filmmaker came of age at the same time as the new age of feminism, and her films became key texts in the nascent field of feminist film theory.
		Chantal Akerman by Chantal Akerman - A self-portrait by experimental narrative and feminist Belgian filmmaker Chantal Akerman.
		From the East - Chantal Akerman retraces a journey from the end of summer to deepest winter, from East Germany, across Poland and the Baltics, to Moscow.
	www.frif.com /new2004/chant.html (544 words)

	Film Comment
		Akerman's early features are covered, of course, but this anthology fortunately goes further, with essays on Akerman's unjustly overlooked later work.
		Just as Akerman in Jeanne Dielman methodically filmed the everyday routines of a housewife that are usually elided in mainstream cinema, so did she, in her next film, pay attention to the rhythms and lived experiences of the modern metropolis, the ongoing relationship between structures and the people who use them.
		Despite two blind spots - in relation to Akerman's short films, including her early, hardcore structuralist experiments, and her more recent documentaries and critically hailed Proust adaptation La Captive (00) - Identity and Memory is impressively comprehensive, addressing the broad reach of women's studies and feminist film theory in the new millennium.
	www.filmlinc.com /fcm/online/booksca.htm (487 words)

	[No title]
		In a career that now spans 35 years, Chantal Akerman has created a body of work that ranks her not just as one of the most celebrated woman filmmakers ever, but as a landmark figure in contemporary cinema.
		Akerman has reflected on her own Jewishness while exploring the intertwining of ethnicity, history and memory in a post-Cold War, globalized world.
		Akerman's first film, completed when she was 18, is fl comedy that can be seen as a playful and affectionate homage to the unrestrained energy of the French New Wave, as well as for its fondness for blending slapstick and tragedy.
	www.cinema.ucla.edu /calendar/calendardetails.aspx?details_type=2&id=111 (1194 words)

	kamera.co.uk - film review - La Captive directed by Chantal Akerman - reviewed by Ben McCann
		Firstly, Akerman has stated that the film is inspired by the book rather than informed by it, stemming from her unconscious recollections of the source novel.
		In her breakthrough films, Akerman has explored the concept of urban claustrophobia and the literal and metaphorical trapping of emotions.
		Akerman relies instead on home movies and convertible sports cars and as a result, the couple's behaviour seems all the more puzzling when mapped onto this modern-day aesthetic.
	www.kamera.co.uk /reviews_extra/lacaptive.php (637 words)

	Filmmaker Chantal Akerman will discuss her work (Site not responding. Last check: 2007-08-20)
		Akerman has been described in the Village Voice as "arguably the most important European director of her generation." She is often regarded as a successor to Jean Luc Godard for her maverick stance, intellectual brilliance, inventiveness and productivity -- having made over 30 short and feature-length films since 1968.
		"Chantal Akerman's challenges to conventional film making have been as important as Godard's, with more than a feminist twist in content," said Marilyn Rivchin, a senior lecturer in filmmaking who will co-host Akerman's March 4 talk.
		Akerman's visit to Cornell is cosponsored by the Cornell Council for the Arts, Department of Romance Studies, Field of Lesbian, Gay and Bisexual Studies, Women's Studies Program and Department of Theatre, Film and Dance.
	www.news.cornell.edu /Chronicle/97/2.27.97/Chantal_Akerman.html (505 words)

	Chantal Akerman - Professor of Film - Biography
		Chantal Akerman, a Brussels-born and now Paris-based filmmaker, is world famous for her deconstructive style, pessimistic humor and corrosive observations of identity, sexuality, and politics.
		Akerman’s films have been called the single most important and coherent body of work by a women director, and her film “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles” (1975) was praised by the “New York Times as ”the first masterpiece of the feminine in the history of cinema”.
		In addition to her many short and feature films, Chantal Akerman has produced documentaries and video installations.
	www.egs.edu /faculty/akerman.html (160 words)

	LA Weekly: Film: Kitchen Stories
		For the films of Chantal Akerman are those that lurk stealthily behind seemingly familiar surfaces, forcing us to look longer, harder, deeper — indeed, beyond the image — until the distance we ordinarily feel between ourselves and the screen has collapsed, and we no longer recognize what we are seeing.
		And in the films of Chantal Akerman, there are also Brussels and New York, English and French, tragedy and musical comedy, fantasy and autobiography, all swirling about in a uniquely confessional filmmaking galaxy that ought to keep the academics scratching their heads for some time to come.
		“Chantal Akerman: I You He She” screens at the UCLA James Bridges Theater and at REDCAT, March 6—19, with appearances at some screenings by the filmmaker.
	www.laweekly.com /ink/04/15/film-foundas.php (1593 words)

	UNESCO - Film directors Ousmane Sembene and Chantal Akerman awarded UNESCO's Fellini medal
		The medal is awarded to directors and actors in recognition of their contribution to the respect and promotion of cultural diversity.
		Chantal Akerman, born in Brussels in 1950, is one of the most prominent representatives of the post-New Wave, a cinematographic movement that emerged after May 1968.
		Akerman has directed 41 films; She wrote the scripts for 21 of them and acted in eight.
	portal.unesco.org /en/ev.php-URL_ID=20635&URL_DO=DO_TOPIC&URL_SECTION=201.html (427 words)

	NYU - Press Release
		"Chantal Akerman and Her Work" a three-day series of events exploring the work of this acclaimed Belgian filmmmaker, will take place at New York University, February 19-21.
		A leading avant-garde artist, Akerman is internationally known both for her eloq uent formalism and for her daring crossing of narrative, experimental and documentary genres.
		Akerman will discuss her films following the screenings of Chantal Akerman on Thursday, February 19, 7 p.m.
	www.nyu.edu /publicaffairs/newsreleases/b_NYU_T1.shtml (336 words)

	Cinematexas 10 - Chantal Akerman
		Although she has never secured the commercial success of a Godard or Fassbinder, and is hence not as generally known to a wide audience, Chantal Akerman is arguably the most important European director of her generation.
		Keeping a distance is a key element in Akerman’s cinema, a distance which constantly foregrounds the relation of the subject to the constitution of the gaze.
		The autobiographical nature of the stories and appearance of Akerman in some of her own films increases this element of constitution of the self which is at the center of many of her films.
	www.cinematexas.org /festival/artist.html?id=143 (543 words)

	Akerman resists southern comfort
		Akerman allows a considerable period of time to elapse before introducing a series of interviewees, whose observations on the politics of race and the Byrd murder make clear the filmmaker's sympathies.
		Akerman sets up a structural and semantic counterpoint between the dispassionate statements of these 'talking heads' and the silent, static and tracking shots of a seemingly innocent rural backwater.
		Akerman herself has noted that the film "is in some way an echo and a counterpoint [of this earlier work]...It is a journey too...." (3) News From Home (1976), Akerman's earlier study of another American locale, is in some respects equally a template for South.
	www.sensesofcinema.com /contents/00/6/south.html (972 words)

	VH1.com : Movies : Person : Chantal Akerman : Biography
		In 1975, Akerman made her best-known and one of her most influential films, Jeanne Dielman, 23 Quai de Commerce, 1080 Bruxelles, a film that was barely shown in the U.S., but which generated considerable response in Europe.
		She is also known for utilizing experimental compositions of light and architectural design, with detached, non sequitur soundtracks to underscore the "action." In 1996, Akerman made perhaps her most mainstream film to date, Un Divan a New York.
		Three years later, Akerman ventured to Jasper, Texas, where she made Sud, a documentary about the horrendous killing of James Byrd, Jr., an African-American man who was savagely murdered by three white men.
	www.vh1.com /movies/person/69610/bio.jhtml (446 words)

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