Mor Chantal Akerman, Figura Clau Del Cinema Experimental Dels Setanta

Total Page：16

File Type：pdf, Size：1020Kb

Mor Chantal Akerman, Figura Clau Del Cinema Experimental Dels Setanta

Cultura i Mitjans | foto_esteveplantada_Esteve Plantada | Actualitzat el 07/10/2015 a les 12:22 Mor Chantal Akerman, figura clau del cinema experimental dels setanta La cineasta belga ha mort a París als 65 anys | El festival de Locarno va viure l'estrena del seu darrer film, "No home movie" Chantal Akerman, en una imatge d'arxiu Chantal Akerman (http://www.imdb.com/name/nm0001901) (Brusel·les, 1950) va decidir acabar amb la seva vida a París, la ciutat on residia, aquest darrer dilluns. Tenia 65 anys i era una de les grans figures del cinema experimental dels setanta. Destacada per l'ús de crus i llargs plans seqüència, la cineasta belga va provar de captar les arestes de la condició femenina, lligada a una intensa reflexió sobre la identitat. De fet, la figura de la seva mare (morta el 2014 i present com a reflexió a No home movie) va planar sempre per la seva obra, com a jueva polonesa que va sobreviure a Auschwitz. Deutora de l'art d'avantguarda, les pel·lícules d'Akerman sempre van intentar trencar els preceptes del cinema clàssic, ja fos fent esclatar la linealitat de la narració, qüestionant els propis traumes o seguint la tradició dels particulars retrats cinematogràfics que van practicar autors com Philippe Garrel o Andy Warhol. La seva proposta va viure una època creativa daurada entre els setanta i els vuitanta, alimentada pel contacte que va establir a Nova York amb personalitats com Michael Snow o Jonas Mekas. Una filmografia amb més de 40 títols El seu debut va ser el curtmetratge Saute ma ville (1968), quan només tenia disset anys, el https://www.naciodigital.cat/noticia/96023/mor-chantal-akerman-figura-clau-cinema-experimental-dels-setanta Pagina 1 de 2 preludi d'una obra que, anys després, seguiria mostrant una gran inquietud per no deixar indiferent. Set anys després, Akerman va presentar el seu primer llargmetratge, Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975). De la seva filmografia, amb més de quaranta pel·lícules, destaquen Je, tu, il, elle (1976), News from home (1976), L'homme à la valise (1983), Nuit et jour (1991) o La captive (2000). També va dirigir Romance en Nueva York (1996), un intent d'aproximar-se a la comèdia romàntica (amb una voluntat purament comercial) protagonitzada per Juliette Binoche i William Hurt. La seva última obra ha estat No home movie (2015), presentada al darrer festival de Locarno (http://www.pardolive.ch/pardo/program/film.html?fid=816520) , i rebuda amb xiulets pel públic i desaprovació per part de la crítica. V?deo: https://www.youtube.com/watch?v=jx2RNzl-p3Q V?deo: https://www.youtube.com/watch?v=BnakPuaDELk https://www.naciodigital.cat/noticia/96023/mor-chantal-akerman-figura-clau-cinema-experimental-dels-setanta Pagina 2 de 2.

Copy Link

Recommended publications

Cinema Comparat/Ive Cinema
CINEMA COMPARAT/IVE CINEMA VOLUME IV · No.8 · 2016 Editors: Gonzalo de Lucas (Universitat Pompeu Fabra) and Albert Elduque (University of Reading). Associate Editors: Ana Aitana Fernández (Universitat Pompeu Fabra), Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, United States), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Francisco Javier Benavente (Universitat Pompeu Fabra), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irleland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, United States), Haden Guest (Harvard University, United States), Tom Gunning (University of Chicago, United States), John MacKay (Yale University, United States), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Alejandro Montiel (Universitat de València), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Raffaelle Pinto (Universitat de Barcelona), Ivan Pintor (Universitat Pompeu Fabra), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, United States), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Glòria Salvadó (Universitat Pompeu Fabra), Yuri
[Show full text]
No Home Movie
A film by Chantal Akerman NO HOME MOVIE North American Theatrical Premiere New York: Opens April 01, 2016 Los Angeles: Opens April 22, 2016 “It was heartbreaking when I saw it last week and it is devastating now.” –J. Hoberman, The New York Times An Icarus Films Release http://icarusfilms.com/filmmakers/chant.html ABOUT THE FILM Chantal Akerman’s masterful final film is a portrait of her relationship with her mother, Natalia, a Holocaust survivor and central presence her daughter's films. FILM FESTIVALS World Premiere 2015 Locarno Film Festival North American Premiere 2015 Toronto International Film Festival U.S. Premiere 2015 New York Film Festival FILMMAKER’S STATEMENT I’ve been filming just about everywhere for years now, as soon as I see a shot. Not with anything specific in mind, just the feeling that one day, these images will make a film, or an art installation. I just let myself go, because I want to, and instinctively. Without a film script, with no conscious project in view. Three installations have been created from these images and have been shown in many locations (at the Art Film Festival in Belgium, for example, etc.). And I continue to film. Myself. Alone. Last spring, with the help of Claire Atherton and Clémence le Carré, I brought together around 20 hours of images and sounds still not knowing where I was going. Then we started sculpting the material. 20 hours became 8, then 6, and then after a while, 2. And there we saw it, we saw a film and I said to myself: of course, it’s this film that I wanted to make.
[Show full text]
“Farewell: an Homage to Chantal Akerman”Frieze
FAREWELL Delphine Seyrig in Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles, 1975, 35mm ﬁlm still A N HOMAGE TO CHANTAL A KERMAN 1950— 2015 Akerman_frieze176 V2.indd 112 09/12/2015 12:42 Tributes by The great flmmaker Chantal Akerman James Benning died in October 2015; she was 65. She made Manon de Boer her frst short flm, Saute ma ville (Blow Up Jem Cohen My Town, 1968), when she was just 18. Her frst Tacita Dean feature, Jeanne Dielman, 23 quai du Commerce, Chris Dercon 1080 Bruxelles (1975), established her reputation Joanna Hogg & Adam Roberts as a radical, feminist flmmaker. Over the next Sharon Lockhart four decades, in her native Belgium and the US — Rachael Rakes as well as in China, eastern Europe, Israel and Mexico, among other places — Akerman made over 40 documentary and feature flms; she also created installation and video art. The infuence her work has exerted is inestimable. Following her death, the director Todd Haynes dedicated the screening of his latest movie, Carol (2015), to Akerman at the New York Film Festival, stating that ‘as someone thinking about female subjects and how they’re depicted’ her work had changed the ways in which he thought about, and imagined, film. Over the following pages, nine filmmakers, curators and artists refect on what Akerman’s work meant to them. Akerman_frieze176 V2.indd 113 09/12/2015 12:42 M ANON DE B OER JAMES B ENNING An artist based in Brussels, Belgium. A flmmaker living in Val Verde, California, USA. In the week following Akerman’s death, as Chantal Akerman.
[Show full text]
The Magic Mirror” Uncanny Suicides, from Sylvia Plath to Chantal Akerman
“THE MAGIC MIRROR” UNCANNY SUICIDES, FROM SYLVIA PLATH TO CHANTAL AKERMAN A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English By Kelly Marie Coyne, B.A. Washington, D.C. April 24, 2017 © 2017 Kelly Marie Coyne All rights reserved. ii “THE MAGIC MIRROR” UNCANNY SUICIDES, FROM SYLVIA PLATH TO CHANTAL AKERMAN Kelly Marie Coyne, B.A. Thesis Advisor: Dana Luciano, Ph.D. ABSTRACT 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.
[Show full text]
Identity Slips: the Autobiographical Register in the Work of Chantal Akerman
Identity slips: the autobiographical register in the work of Chantal Akerman Article (Published Version) Lebow, Alisa (2016) Identity slips: the autobiographical register in the work of Chantal Akerman. Film Quarterly, 70 (1). pp. 54-60. ISSN 0015-1386 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/61531/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk IDENTITY SLIPS: THE AUTOBIOGRAPHICAL REGISTER IN THE WORK OF CHANTAL AKERMAN Alisa Lebow “Your mother was the thin thread that kept you in balance.” surrogates, for sets or actors, multiple screens, or even a —Esther Orner1 script.
[Show full text]
Ageless-Akerman's Avatars Jenny Chamarette Accepted Version
Ageless: Akerman’s avatars' Book or Report Section Accepted Version Chamarette, J. ORCID: https://orcid.org/0000-0003-0701-1514 (2019) Ageless: Akerman’s avatars'. In: Schmid, M. and Wilson, E. (eds.) Chantal Akerman: Afterlives. MHRA/Legenda, Oxford, pp. 54-65. ISBN 9781781886397 doi: https://doi.org/10.2307/j.ctv16km0vw.11 Available at http://centaur.reading.ac.uk/92937/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.2307/j.ctv16km0vw.11 Publisher: MHRA/Legenda All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Ageless: Akerman’s Avatars Jenny Chamarette Chantal Akerman was only 18 when she made her first short film, Saute ma ville. The figure of the young woman, played by Akerman, radically and violently disrupts the domestic space of her apartment, transgressing all of the domestic meticulousness later portrayed in elongated detail in Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles from 1975. Of all the films of Akerman that I have watched, this angry, young, singing woman returns to me over and over again. In this vision, there is so much farcical, explosive, rabid anger: a mercurial state of self-rebellion that burns under the surface of many of Akerman’s other images.
[Show full text]
(Appearance and Disappearance) of Two Belgian Filmmakers
ARTICLES · Cinema Comparat/ive Cinema · Vol. IV · No 8 · 2016 · 57-62 Presence (appearance and disappearance) of two Belgian flmmakers Imma Merino ABSTRACT KEYWORDS Agnès Varda and Chantal Akerman are two flmmakers Self-portrait, self-representation, body, double, documentary, that, within flm modernity, have invented their own rules mirror, subjectivity. and experimented with new ways of representation, without disregarding the fact they are making cinema from their experience as women. Each one in her own way, in her own images and sounds, has introduced her subjectivity and has become physically present through her body and her voice. Akerman burst into cinema in 1968 with Blow Up My Town (Saute ma ville), an explosive short flm where she self- represented or maybe self-fctionalised; that was an attempt she continued later on, both by performing in her own flms and by being embodied by other actresses, thus turning physically more invisible; meanwhile, in her more intimate, essay- like and even documentary flms, her presence sometimes manifested through forms of absence, as it is shown in her last flm, No Home Movie. We can also fnd Varda’s doubles in her last fction flms, whereas in her essay documentaries the flmmaker’s body has become more visible, acknowledging a subjectivity she had previously expressed through her narrative and refective voice. Te culmination of this physical presence is found in Te Gleaners and I (Les glaneurs et la glaneuse, 2000), a documentary wich links portraits of gleaners from contemporary world with the self-portrait done in the old age, and the autobiographical movie Te Beaches of Agnès (Les plages d’Agnès, 2008).
[Show full text]
Bamcinématek Presents Chantal Akerman: Images Between the Images, Apr 1—May 1
BAMcinématek presents Chantal Akerman: Images Between the Images, Apr 1—May 1 One of the most comprehensive retrospectives of Chantal Akerman’s work to be exhibited in the US Opens with the NY premiere run of the filmmaker’s final work, No Home Movie “A pioneer of modernist feminist cinema” —The Guardian “Arguably the most important European director of her generation” —Village Voice The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Mar 1, 2016/Brooklyn, NY—From Friday, April 1, through Sunday, May 1, BAMcinématek presents Chantal Akerman: Images Between the Images. Following the untimely passing of the great filmmaker last October, Chantal Akerman (1950—2015) will be honored via cinematic tribute around New York City. In a career that began in the late 1960s, Akerman quickly carved out a place in cinema for a female, avant garde filmmaker compelled to tell personal and intimate stories. Preferring long takes, and the drama of day to day life, her films resonated with progressive audiences. BAMcinématek is proud to honor the artist with a month-long tribute anchored by the New York premiere run of a film The New York Times called “candid and open-hearted,” Akerman’s crowning film, No Home Movie (2015—Apr 1—14). Chantal Akerman’s final film, No Home Movie is a portrait of her relationship with her mother, Natalia, a Holocaust survivor and familiar presence in many of Akerman’s films. The film fixates on Natalia’s world inside her Brussels apartment, with only glimpses of the hustle and bustle just outside her window.
[Show full text]
Corpo, Autoinscrição E Autoria No Cinema De Chantal Akerman
INSTITUTO DE ARTE E COMUNICAÇÃO SOCIAL PROGRAMA DE PÓS-GRADUAÇÃO EM CINEMA E AUDIOVISUAL MESTRADO EM CINEMA E AUDIOVISUAL LUANA MENDONÇA CABRAL ESSA SOU EU: CORPO, AUTOINSCRIÇÃO E AUTORIA NO CINEMA DE CHANTAL AKERMAN Niterói 20202019 Ficha catalográfica automática - SDC/BCG Gerada com informações fornecidas pelo autor C117e Cabral, Luana Mendonça Essa sou eu : Corpo, autoinscrição e autoria no cinema de Chantal Akerman / Luana Mendonça Cabral ; Marina Cavalcanti Tedesco, orientadora. Niterói, 2020. 150 p. Dissertação (mestrado)-Universidade Federal Fluminense, Niterói, 2020. DOI: http://dx.doi.org/10.22409/PPGCine.2020.m.13344263765 1. Cinema. 2. Chantal Akerman. 3. Feminista. 4. Corpo no cinema. 5. Produção intelectual. I. Tedesco, Marina Cavalcanti, orientadora. II. Universidade Federal Fluminense. Instituto de Arte e Comunicação Social. III. Título. CDD - Bibliotecário responsável: Sandra Lopes Coelho - CRB7/3389 LUANA MENDONÇA CABRAL ESSA SOU EU: CORPO, AUTOINSCRIÇÃO E AUTORIA NO CINEMA DE CHANTAL AKERMAN Dissertação apresentada ao Programa de Pós- Graduação em Cinema e Audiovisual da Universidade Federal Fluminense (PPGCine UFF) para obtenção do título de Mestra em Cinema e Audiovisual. Linha de Pesquisa: Narrativas e Estéticas Orientadora: Prof. Dra. Marina Cavalcanti Tedesco Niterói 2020 Para Heitor, com saudades AGRADECIMENTOS Ao concluir esse trabalho, agradeço a todos os(as) professores(as), alunos(as) e colaboradores(as) do Programa de Pós-Graduação em Cinema e Audiovisual da Universidade Federal Fluminense pela dedicação e o esforço empregados em sua construção. Sobretudo, agradeço aos(às) discentes, colegas de turma e companheiros(as) de pós-graduação, pelas conversas, pelas trocas e pelo aprendizado compartilhado. Aos colegas pesquisadores e professores da Universidade Federal do Espírito Santo, especialmente a Erly Vieira Jr., amigo e ex-orientador, agradeço por terem me introduzido a boa parte das discussões que permeiam esta dissertação.
[Show full text]
THE CINEMA of CHANTAL AKERMAN a Film by Marianne Lambert
I DON’T BELONG ANYWHERE: THE CINEMA OF CHANTAL AKERMAN A film by Marianne Lambert North American Theatrical Premiere New York: Opens March 30, 2016 Los Angeles: Opens April 22, 2016 “A career-spanning documentary [that] provides valuable insights.” —Variety “Offers an overview of Akerman’s career while showcasing the behind-the-scenes process of her work.” —indieWire An Icarus Films Release http://icarusfilms.com/filmmakers/chant.html SYNOPSIS I Don’t Belong Anywhere: The Cinema of Chantal Akerman explores some of the Belgian filmmaker’s 40 plus films, and from Brussels to Tel- Aviv, from Paris to New-York, it charts the sites of her peregrinations. An experimental filmmaker, a nomad, Chantal Akerman shared with Marianne Lambert her cinematic trajectory, one that never ceased to interrogate the meaning of her existence. And with her editor and long-time collaborator, Claire Atherton, she examines the origins of her film language, and aesthetic stance. I Don’t Belong Anywhere includes excerpts from many films made throughout Akerman’s career, including Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975), News from Home (1976), The Rendez- vous of Anna, Je, tu, il, elle (1974), South (1998), From the East (1993), From the Other Side (2002), Là-bas (2006) and what would be Chantal Akerman’s last film, No Home Movie (2015). FILM FESTIVALS World Premiere 2015 Locarno Film Festival North American Premiere 2015 RIDM Documentary Film Festival Montreal U.S. Premiere 2016 New York Jewish Film Festival presented by The Jewish Museum and Film Society of Lincoln Center Press Room Download images, press kit, video clips and more at http://icarusfilms.com/pressroom.html User: icarus Password: press More Information: http://icarusfilms.com/filmmakers/chant.html DIRECTOR INTERVIEW Interview by the Centre de l'Audiovisuel à Bruxelles (CBA).
[Show full text]
Chantal Akerman, Between the Mother and the World
CHANTAL AKERMAN, BETWEEN THE MOTHER AND THE WORLD Mateus Araujo Translated by Mark Cohen From the first, Chantal Akerman’s work seemed to express 1080 Brussels, 1975), a film the filmmaker says she made for an oscillation between, on the one hand, a movement of leav- her mother—admitting that she was one of the direct sour- ing the world of the family (which is indistinguishable from ces of inspiration for the character of the protagonist. And her discovery of film) and, on the other, an opposite and re- Akerman also has disclosed that she was thinking of her current movement of returning to it, in the form of reminis- mother later on while making, among others, the highly id- cence, a certain nostalgia, or even a quest for her cultural iosyncratic Histoires d’Amérique (Stories from America, Food, identity. Family and Philosophy, 1988) and the strikingly beautiful 3 Polarizing this oscillation is, often, the figure of her D’Est (From the East, 1993). When looking at D’Est more mother, Natalia Leibel (married name, Akerman) with closely, it is possible to make out her mother again in the whom her work has pursued a long, imaginary dialogue. portraits of middle-aged housewives that run through the Constant, if not extensive, this dialogue with her mother—as whole film as it journeys across Eastern Europe after the fall further confirmed by her last book, Ma mère rit (2013), and of the Wall, and suggest the maternal resonances in the film- 4 her last film, No Home Movie (2015)—seemstomemorefun- maker’s quest.
[Show full text]
Page 1 H-France Review Vol. 20 (April 2020), No. 66 Marion Schmid and Emma Wilson, Eds., Chanta
H-France Review Volume 20 (2020) Page 1 H-France Review Vol. 20 (April 2020), No. 66 Marion Schmid and Emma Wilson, eds., Chantal Akerman: Afterlives. Cambridge: Legenda/Modern Humanities Research Association, 2019. 184 pp. £75.00 (hb). ISBN: 978-1- 781886-39-7; (pb). ISBN: 978-1-781886-40-3; (eb). ISBN: 978-1-781886-41-0. Review by Ivone Margulies, Hunter College. Inspiring for artists and critics alike, Akerman’s work feels surprisingly close. As Nicholas Elliott states in his tribute to the artist, Akerman “redefined the intimate”[1]; and in many ways, we continue to critically grapple with an art that so delicately balances clarity, directness, and intriguing singularity. Akerman’s incisive interventions have redefined issues of duration, of women’s self-inscription, of performance. And beyond the oft-repeated lines about the blurring of autobiography and fiction, it is Akerman’s restless move among genres and modes, as well as her allusions to her mother, the Holocaust, and exile, that keep us revisiting her work, with the persistent sense that there is more to discover. Marion Schmid and Emma Wilson’s Chantal Akerman: Afterlives is part of an uninterrupted flow of engagement with Akerman’s work across the world. While her works from the 1970s have been revisited in light of contemporary approaches to affect, labor, and time, her installations and documentary work, as well as her last fiction adaptations, have been the consistent object of striking scholarship dealing with dailiness, ethics, and performative gestuality.[2] This new collection, focusing on works from the last two decades, proves how present and alive Akerman questions are: as an aesthetic interlocutor, as ethical compass, as a complex model of personally inscribed cinema and literature.
[Show full text]