169 research outputs found
Cycle et structure
No full textAkerman Johan. Cycle et structure. In: Revue économique, volume 3, n°1, 1952. pp. 1-12
Akerman (Johan) - Theory of industrialism ; causal analysis and economic plans.
No full textLhomme Jean. Akerman (Johan) - Theory of industrialism ; causal analysis and economic plans.. In: Revue économique, volume 13, n°2, 1962. p. 312
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
L'aspect structurel
No full textSUMMARY The author demonstrates the necessity of tïking the structural aspect iito consideration basing this assertion on three examples the statistical demand curves the problem of growth and the explanation forecasting of the most severe crisis of the epoch of industrialism 1929 Starting from the fundamental dichotomy of causal analysis and planning the micro- macro problem and the question of structural homogenity are discussed leading to the conclusion that lassic theory Keynesian Stockholm School reposes on very special non-realistic assumptions The structural and atomistic approaches are then compared systematically see the diagram and the two schemes in the text The relation between the ana lysis of aggregate concepts and the structural approach is examined and finally the author puts the question is it probable that the structural approach will supersede theory solely applying conceptual analysis of aggregates and answers in the affirmative yet stressing the obstacles impeding such methodological changeAkerman Johan. L'aspect structurel. In: Revue économique, volume 5, n°6, 1954. pp. 881-895
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
Sounding queer collaborative acts:Chantal Akerman films Sonia Wieder-Atherton
Get PDFThe cellist Sonia Wieder-Atherton has collaborated with Chantal Akerman on her feature films, shorts, documentaries and installations. However, Wieder-Atherton’s influence on Akerman’s filmmaking, and her physical presence in the films themselves, have not been examined directly by scholars. This article will address this imbalance by outlining their collaborative project, before analysing Akerman’s short film Trois Strophes sur le nom de Sacher (1989), in which the cellist performs the eponymous composition by Henri Dutilleux. Through the inter-filmic presence of Alfred Hitchcock’s Rear Window (1954) and the allusions to Akerman’s Jeanne Dielman (1975), the author argues that the cellist’s intense rendering of Dutilleux’s score, marked by his use of scordatura, catalyses Akerman’s queer mistuning of Hitchcock’s classic. In doing so, her film produces a form of ambivalent spectatorship that embraces what the author is calling the ‘musically queer’. Her analysis draws on Tania Modleski’s critical swerve away from the male gaze in her study of Rear Window, and on Lee Edelman’s conceptualisation of Rear Window’s rumbling pulse of anal eroticism. The author will demonstrate how Akerman charges the ‘rear view’ backdrop of her film with an immersive sonic erotics that decentres the phallocentric scopic regime and fashions an acoustic space for queer spectatorial pleasures
L'aspect structurel
No full text[eng] SUMMARY The author demonstrates the necessity of tïking the structural aspect iito consideration basing this assertion on three examples the statistical demand curves the problem of growth and the explanation forecasting of the most severe crisis of the epoch of industrialism 1929 Starting from the fundamental dichotomy of causal analysis and planning the micro- macro problem and the question of structural homogenity are discussed leading to the conclusion that lassic theory Keynesian Stockholm School reposes on very special non-realistic assumptions The structural and atomistic approaches are then compared systematically see the diagram and the two schemes in the text The relation between the ana lysis of aggregate concepts and the structural approach is examined and finally the author puts the question is it probable that the structural approach will supersede theory solely applying conceptual analysis of aggregates and answers in the affirmative yet stressing the obstacles impeding such methodological change
On Jeanne's doorstep : spaces, borders and doors in the film Jeanne Dielman by Chantal Akerman
No full textThe text is an analysis of the metaphors of space, borders and doors in the film Jeanne Dielman by Chantal Akerman. The author combines Thomas Elsaesser's theoretical considerations on a metaphor of door and screen in the cinema with Erving Goffman's, among others, analysis of social behaviour to interpret the stratifications of space in the film and their reference to the main character's mental situation. The article also discusses various kinds of borders in Akerman's work, which have spatial, cultural, physical and mental dimension
"The Magic Mirror" Uncanny Suicides, from Sylvia Plath to Chantal Akerman
No full textArtists such as Chantal Akerman and Sylvia Plath, both of whom came of age in mid-twentieth century America, have a tendency to show concern with doubles in their work—Toni Morrison’s Beloved , Maya Deren’s Meshes of the Afternoon, Cheryl Dunye’s The Watermelon Woman—and oftentimes situate their protagonists as doubles of themselves, carefully monitoring the distance they create between themselves and their double. This choice acts as a kind of self-constitution, by which I mean a self-fashioning that works through an imperfect mirroring of the text’s author presented as a double in a fictional work. Texts that employ self-constitution often show a concern with liminality, mirroring, consumption, animism, repressed trauma, suicide, and repetition. It is the goal of this thesis to examine these motifs in Sylvia Plath’s The Bell Jar and the early work of Chantal Akerman, all of which coalesce to create coherent—but destabilizing—texts that propose a new queer subject position, and locate the death drive—the desire to return to the mother’s womb—as their source. I will examine the uncanny on various levels, zooming out from the micro-level elements of the text to its broader relationship to its environment: from rhetoric, to the physical landscapes of the texts, to characters of the text, to the structure of the text (as confined by its frame), and then, finally, outside the text itself, to the author’s relationship with her double. What I will argue here is that Akerman and Plath—in doubling on both the extradiegetic and intradiegetic levels of their work—propose a queer liminal space that siphons and ultimately expels repressed uncanny desire, allowing for both self-sustainability and personal integrity
“The Magic Mirror”: Uncanny Suicides, From Sylvia Plath to Chantal Akerman
No full textM.A.Artists such as Chantal Akerman and Sylvia Plath, both of whom came of age in mid-twentieth century America, have a tendency to show concern with doubles in their work—Toni Morrison’s Beloved, Maya Deren’s Meshes of the Afternoon, Cheryl Dunye’s The Watermelon Woman—and oftentimes situate their protagonists as doubles of themselves, carefully monitoring the distance they create between themselves and their double. This choice acts as a kind of self-constitution, by which I mean a self-fashioning that works through an imperfect mirroring of the text’s author presented as a double in a fictional work. Texts that employ self-constitution often show a concern with liminality, mirroring, consumption, animism, repressed trauma, suicide, and repetition.It is the goal of this thesis to examine these motifs in Sylvia Plath’s The Bell Jar and the early work of Chantal Akerman, all of which coalesce to create coherent—but destabilizing—texts that propose a new queer subject position, and locate the death drive—the desire to return to the mother’s womb—as their source. I will examine the uncanny on various levels, zooming out from the micro-level elements of the text to its broader relationship to its environment: from rhetoric, to the physical landscapes of the texts, to characters of the text, to the structure of the text (as confined by its frame), and then, finally, outside the text itself, to the author’s relationship with her double. What I will argue here is that Akerman and Plath—in doubling on both the extradiegetic and intradiegetic levels of their work—propose a queer liminal space that siphons and ultimately expels repressed uncanny desire, allowing for both self-sustainability and personal integrity
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