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Nothing Happens

Chantal Akerman's Hyperrealist Everyday

Häftad, Engelska, 1996

359 kr

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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. Her 1975 film Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles is widely regarded as the most important feminist film of that decade. In Nothing Happens, Ivone Margulies presents the first comprehensive study of this influential avant-garde Belgian filmmaker.Margulies grounds her critical analysis in detailed discussions of Akerman’s work-from Saute ma ville, a 13-minute black-and-white film made in 1968, through Jeanne Dielman and Je tu il elle to the present. Focusing on the real-time representation of a woman’s everyday experience in Jeanne Dielman, Margulies brings the history of social and progressive realism and the filmmaker’s work into perspective. Pursuing two different but related lines of inquiry, she investigates an interest in the everyday that stretches from postwar neorealist cinema to the feminist rewriting of women’s history in the seventies. She then shows how Akerman’s “corporeal cinema” is informed by both American experiments with performance and duration and the layerings present in works by European modernists Bresson, Rohmer, and Dreyer. This analysis revises the tired opposition between realism and modernism in the cinema, defines Akerman’s minimal-hyperrealist aesthetics in contrast to Godard’s anti-illusionism, and reveals the inadequacies of popular characterizations of Akerman’s films as either simply modernist or feminist. An essential book for students of Chantal Akerman’s work, Nothing Happens will also interest international film critics and scholars, filmmakers, art historians, and all readers concerned with feminist film theory.

Produktinformation

Utgivningsdatum1996-02-09
Mått156 x 230 x 19 mm
Vikt408 g
FormatHäftad
SpråkEngelska
Antal sidor288
FörlagDuke University Press
ISBN9780822317234

Tillhör följande kategorier

Film inom Kultur
Genusvetenskap inom Samhälle och politik

Acknowledgments ixChantal Akerman's Films: The Politics of the Singular 11. Nothing Happens: Time for the Everyday in Postwar Realist Cinema 21Charting the Everyday in Postwar Europe 24A Realism of Surfaces: Bazin and Neorealist Film 27From Surface to Structure: Barthes, Godard, and the Textualization of Reality 33Beyond Cinematic Postivism: The Antirescue Cinema of Andy Warhol 362. Toward a Corporeal Cinema: Theatricality in the '70s 42The United States in Real Time: Minimal, Hyperreal, and Structural 48Quotation Reconsidered: European "Theatrical" Cinema 543. The Equivalence of Events: Jeanne DIelman, 23 Quai du Commerce, 1080 Bruxelles 65Excess Description: Robbe-Grillet and Cinematic Hyperrealism 69Bracketing Drama: The Other Scene 73The Murder, and, and, and . . . : An Aesthetics of Homogeneity 80The Automaton: Agency and Causality in Jeanne Dielman 884. Expanding the "I": Character in Experimental Feminist Narrative 100The Lure of Center in Rainer's Work: A Cautionary Tale 104The Eroded Index: Liminality in Je tu il elle 109An Alogical, Fitful, Evidence 112"Here Is": Redundant Description 118A Mock Centrality: An A-individual Singularity 1215. "Her" and Jeanne Dielman: Type as Commerce 128For Example, "Her": Godard and the "Natural" Sign 131Jeanne Dielman: An Exceptional Typicality 1406. Forms of Address: Epistolary Performance, Monologue, and Bla Bla Bla 149Epistolary Performance: News from Home 150Talk Blocks: Meetings with Anna 154Postscript: The Man with the Suitcase and A Filmmaker's Letter 161What is Wrong with Signing? A Filmmaker's Letter 1667. The Rhythm of ClichÉ: Akerman into the '90s 171Eight Times "Oui": Singularity in Toute une nuit 173Night and Day and Night: The Cycle Revisited 182So Let's Sing: The Eighties and Window Shopping 185Echoes from the East: Histoires D'AmÉrique and D'est 192To Conclude: It Is Time 204Filmography 213Notes 215Bibliography 247Index 263

“A fine writer and a skilled and gifted critic, Margulies offers many new insights into Akerman’s important work. The readings of Akerman’s films-in particular the contextualization of the work in a wider range of frameworks-are excellent. An impressive book.”-Judith Mayne, Ohio State University “A significant and original contribution, not just to Akerman scholarship, but to film studies generally.”-David James, University of Southern California

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