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Chantal Akerman NOW
Get PDFAmbika P3 presented a major exhibition of work by the internationally celebrated filmmaker and artist, Chantal Akerman. Entitled NOW, this was the first large scale exhibition in the English-speaking world of Akerman’s installation work and coincided with the UK premiere of her new film, No Home Movie (2015) at our new Regent Street Cinema. There was seven installation works at Ambika P3: the centrepiece was NOW (2015), a powerful seven channel video installation with surround sound.
Chantal Akerman (born 6 June 1950, Brussels, died 5 October 2015, Paris) was one of the most unpredictable, farsighted, indefinable, rigorous and playful film artists of her generation. While showing the troublesome complexity of human existence, Akerman’s works are filled with beautiful imagery, music, magic of chance, yearning and hope, yet she also investigates hot-button themes such as racism in the American South, illegal immigration, and terrorism in the Middle East.
Chantal Akerman NOW was jointly curated by CREAM’s Michael Mazière and A Nos Amours (Joanna Hogg and Adam Roberts) and presented in association with Marian Goodman Gallery. It was supported by Arts Council England, Marian Goodman Gallery and the University of Westminster
Chantal Akerman in London
Get PDFChantal Akerman in London
This essay tracks the development and production of a series of interconnected projects revolving around the work of Chantal Akerman between 2013 and 2016 in London involving retrospective screenings, in-person presentations, symposiums, a major exhibition, an international conference, and a publication currently in production.
This Akerman project, which grew spontaneously, was initiated by A Nos Amours (curators and filmmakers Adam Roberts and Joanna Hogg), who presented an exhaustive retrospective of Akerman's film and video works over a two-year period, Ambika P3 who presented a major exhibition Chantal Akerman: NOW, the conference ‘After Chantal’ presented by the Centre for Research and Education in Arts and Media at the University of Westminster and the upcoming publication dedicated to Akerman by the Moving Image Review & Art Journal (MIRAJ).
This essay aims to reveal the collaborative nature of the working processes behind this project and the organic manner in which it developed as well as the challenges it posed at a critical time in the artists’ life. In its totality the project and indeed its process, with its multiplicity of outputs and the collaborative dedication of the partners, has become a fitting testament to the strength of the work of Chantal Akerman
The films of Chantal Akerman : a cinema of displacements
Get PDFThis thesis attempts to broaden the critical boundaries within which the films of
Chantal Akerman have been discussed. First, it extends analysis from Akerman's
70s to her 80s and 90s films. Second, it argues that as well as her gender and
aesthetic identities, Akerman's Belgian and Jewish identities should be
acknowledged. Finally, it suggests that each of these four identities: woman,
independent film-maker, Belgian and Jewish allow her a position of marginality,
figured in her films through the trope of 'displacement'.
The structure of the thesis is two-fold: it extends discussion of Akerman's cinema to
films not previously considered, and through this extension engages with
contemporary issues in film and cultural theory such as female authorship,
independent and national, and marginal cinemas. Chapter one `Woman' and chapter
two `Independent' extend the reading of gender and sexuality and formal and
aesthetic innovation in Akerman's cinema. In the first chapter this is done through
consideration of the films Golden Eighties (1986) and Nuit et jour (1990), while in
the second her short films, video work and work for television are examined.
My third and fourth chapters offer areas of Akerman's work which have not
previously been studied. Chapter three, `Belgian', considers the significance of
Akerman's nationality for her film-making while engaging with theories around
national cinema. It examines the possibility of a `Belgian national cinema' and the
intersections which arise between this and Akerman's cinema, especially around
Toute une nuit (1982). Finally, in my fourth chapter, `Jewish', I use Histoires
d'Amerigue (1989) and D'Est (1993) to argue that Akerman's is a `wandering'
cinema, in which she is constantly examining the homelessness and displacement
that her Jewishness engenders
Chantal Akerman
No full textThis is a peer-reviewed, annotated, bibliographic essay on Chantal Akerman which itemises the main sources of literature on her work
Declaraciones de Chantal Akerman
Get PDFAkerman, C. (1996). Declaraciones de Chantal Akerman. Banda aparte. (5):31-35. https://riunet.upv.es/handle/10251/42182.Importación Masiva3135
Anticipo: “Chantal Akerman, Obra escrita y hablada”
No full textPor gentileza de Éditions L’Arachnéen, Francia, dirigida por Sandra Alvarez de Toledo y Anaïs Masson, publicamos este anticipo de “Chantal Akerman, Œuvre écrite et parlée” (“Chantal Akerman, Obra escrita y hablada”), que aparecerá en las librerías europeas el 5 de abril 2024
Anticipo: “Chantal Akerman, Obra escrita y hablada”
No full textPor gentileza de Éditions L’Arachnéen, Francia, dirigida por Sandra Alvarez de Toledo y Anaïs Masson, publicamos este anticipo de “Chantal Akerman, Œuvre écrite et parlée” (“Chantal Akerman, Obra escrita y hablada”), que aparecerá en las librerías europeas el 5 de abril 2024
Chantal Akerman y la transparencia
Get PDFDe Lucas, G. (2002). Chantal Akerman y la transparencia. La madriguera. (46):63-63. https://riunet.upv.es/handle/10251/42048.Importación Masiva63634
The slow film principles in selected films by Chantal Akerman
Get PDFVe své bakalářské práci se věnuji dvěma vybraným dokumentárním filmům belgické režisérky Chantal Akerman. Cílem této práce je analyzovat filmovou řeč ve filmech D'Est a De l'autre côté a zkoumat jejich souvislost s žánrem pomalého kinematografie.
Zajímá mě, jak Chantal Akerman v těchto filmech specificky zachází s časem a délkou trvání záběru, a jaké používá formálními prostředky k podněcování divácké imaginace. Budu zkoumat, zda je možné v dokumentárních filmy Chantal Akerman pozorovat principy, které bývají přisuzovány pomalé kinematografii.In my bachelor thesis I focus on two documentary films by Belgian director Chantal Akerman. The aim of this work is to analyze the film language used in the films D'Est (1993) and De l'autre côté (2002) and explore their connection to the genre of slow cinema.
I am interested in how Chantal Akerman specifically works with time and duration of takes in these films, and how she uses formal means to stimulate audience imagination. I will examine whether it is possible to observe the principles that are attributed to slow cinematography in Akerman's documentary films
Chantal Akerman, entre autoethnographie et banal : un féminisme des interstices.
No full textChantal Akerman is generally considered a feminist cineast by the commentators of her work, especially regarding her 1976 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. This film perfectly fits into the cognitive orientation of the women’s movement of the second wave in politicizing domestic work. I argue in this article that the feminist point of view of the author is graspable in two cinematic dispositives used throughout her work: firstly, the way she forces us to look at the banal generally devalued, and secondly, the autoethnographic component of her cinema affirming the fluidity of the subject and a situated point of view. Chantal Akerman is precursor of a practice theorized since the 1980s as a consequence of the « Crisis of representation », consisting in shifting the focus from to Other to the self
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