Through films that alternate between containment, order, and symmetry on the one hand, and obsession, explosiveness, and a lack of control on the other, Chantal Akerman has gained a reputation as one of the most significant filmmakers working today. This title presents the study of this influential avant-garde Belgian filmmaker.
Through films that alternate between containment, order, and symmetry on the one hand, and obsession, explosiveness, and a lack of control on the other, Chantal Akerman has gained a reputation as one of the most significant filmmakers working today. This title presents the study of this influential avant-garde Belgian filmmaker.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Ivone Margulies is Associate Professor in the Department of Film & Media at Hunter College of the City University of New York.
Inhaltsangabe
Acknowledgments ix Chantal Akerman's Films: The Politics of the Singular 1 1. Nothing Happens: Time for the Everyday in Postwar Realist Cinema 21 Charting the Everyday in Postwar Europe 24 A Realism of Surfaces: Bazin and Neorealist Film 27 From Surface to Structure: Barthes, Godard, and the Textualization of Reality 33 Beyond Cinematic Postivism: The Antirescue Cinema of Andy Warhol 36 2. Toward a Corporeal Cinema: Theatricality in the '70s 42 The United States in Real Time: Minimal, Hyperreal, and Structural 48 Quotation Reconsidered: European "Theatrical" Cinema 54 3. The Equivalence of Events: Jeanne DIelman, 23 Quai du Commerce, 1080 Bruxelles 65 Excess Description: Robbe-Grillet and Cinematic Hyperrealism 69 Bracketing Drama: The Other Scene 73 The Murder, and, and, and . . . : An Aesthetics of Homogeneity 80 The Automaton: Agency and Causality in Jeanne Dielman 88 4. Expanding the "I": Character in Experimental Feminist Narrative 100 The Lure of Center in Rainer's Work: A Cautionary Tale 104 The Eroded Index: Liminality in Je tu il elle 109 An Alogical, Fitful, Evidence 112 "Here Is": Redundant Description 118 A Mock Centrality: An A-individual Singularity 121 5. "Her" and Jeanne Dielman: Type as Commerce 128 For Example, "Her": Godard and the "Natural" Sign 131 Jeanne Dielman: An Exceptional Typicality 140 6. Forms of Address: Epistolary Performance, Monologue, and Bla Bla Bla 149 Epistolary Performance: News from Home 150 Talk Blocks: Meetings with Anna 154 Postscript: The Man with the Suitcase and A Filmmaker's Letter 161 What is Wrong with Signing? A Filmmaker's Letter 166 7. The Rhythm of Cliché: Akerman into the '90s 171 Eight Times "Oui": Singularity in Toute une nuit 173 Night and Day and Night: The Cycle Revisited 182 So Let's Sing: The Eighties and Window Shopping 185 Echoes from the East: Histoires D'Amérique and D'est 192 To Conclude: It Is Time 204 Filmography 213 Notes 215 Bibliography 247 Index 263
Acknowledgments ix Chantal Akerman's Films: The Politics of the Singular 1 1. Nothing Happens: Time for the Everyday in Postwar Realist Cinema 21 Charting the Everyday in Postwar Europe 24 A Realism of Surfaces: Bazin and Neorealist Film 27 From Surface to Structure: Barthes, Godard, and the Textualization of Reality 33 Beyond Cinematic Postivism: The Antirescue Cinema of Andy Warhol 36 2. Toward a Corporeal Cinema: Theatricality in the '70s 42 The United States in Real Time: Minimal, Hyperreal, and Structural 48 Quotation Reconsidered: European "Theatrical" Cinema 54 3. The Equivalence of Events: Jeanne DIelman, 23 Quai du Commerce, 1080 Bruxelles 65 Excess Description: Robbe-Grillet and Cinematic Hyperrealism 69 Bracketing Drama: The Other Scene 73 The Murder, and, and, and . . . : An Aesthetics of Homogeneity 80 The Automaton: Agency and Causality in Jeanne Dielman 88 4. Expanding the "I": Character in Experimental Feminist Narrative 100 The Lure of Center in Rainer's Work: A Cautionary Tale 104 The Eroded Index: Liminality in Je tu il elle 109 An Alogical, Fitful, Evidence 112 "Here Is": Redundant Description 118 A Mock Centrality: An A-individual Singularity 121 5. "Her" and Jeanne Dielman: Type as Commerce 128 For Example, "Her": Godard and the "Natural" Sign 131 Jeanne Dielman: An Exceptional Typicality 140 6. Forms of Address: Epistolary Performance, Monologue, and Bla Bla Bla 149 Epistolary Performance: News from Home 150 Talk Blocks: Meetings with Anna 154 Postscript: The Man with the Suitcase and A Filmmaker's Letter 161 What is Wrong with Signing? A Filmmaker's Letter 166 7. The Rhythm of Cliché: Akerman into the '90s 171 Eight Times "Oui": Singularity in Toute une nuit 173 Night and Day and Night: The Cycle Revisited 182 So Let's Sing: The Eighties and Window Shopping 185 Echoes from the East: Histoires D'Amérique and D'est 192 To Conclude: It Is Time 204 Filmography 213 Notes 215 Bibliography 247 Index 263
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