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Chantal Akerman

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Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 1–11.
Published: 01 May 2019
...Patricia White This introduction to the hundredth issue of Camera Obscura , on filmmaker, writer, and installation artist Chantal Akerman, establishes the importance of Akerman’s work to the history and perspective of the journal, as well as the journal’s central role in the history and concerns of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 13–29.
Published: 01 May 2019
...Ivone Margulies This interview with film editor Claire Atherton focuses on her three-decade collaboration on the films and installations of Chantal Akerman (1950–2015). Questioned by Akerman scholar Ivone Margulies, Atherton describes her meeting and rapport with Akerman and their way of working...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 233–237.
Published: 01 May 2019
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 219–231.
Published: 01 May 2019
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 91–97.
Published: 01 May 2019
...Claire Atherton; Translated by Felicity Chaplin This essay is the memorial address on the life and work of filmmaker, writer, and installation artist Chantal Akerman (1950–2015) by her editor and collaborator of nearly thirty years, Claire Atherton. Atherton emphasizes Akerman’s instinctive way of...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 99–111.
Published: 01 May 2019
...Maureen Turim Chantal Akerman’s 2004 art installation Marcher à côté de ses lacets dans un frigidaire vide ( Walking Next to One’s Shoelaces in an Empty Fridge ) explores Akerman’s multigenerational family history as Jewish survivors of the Shoah. The installation is spatially configured so that...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 163–183.
Published: 01 May 2019
...Edited by Eva Kuhn; Ute Holl In October 2016, we organized a symposium in Basel, Switzerland, in commemoration of Chantal Akerman. Through screenings of her films, as well as talks, presentations, and accounts of friends and collaborators, the event focused on issues of remembering and forgetting...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 185–195.
Published: 01 May 2019
...Michael Mazière 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...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 211–215.
Published: 01 May 1979
...Meg Morley Copyright © 1979 by Camera Obscura 1979 Les Rendex-Vous d’Anna (Chantal Akerman) Meg Morley Details: Les Rendez-vous d’Anna, 1978, directed by Chantal Aker- man; director of photography Jean Penzer; film editor Francine Sand- berg; with Aurore Clement, Helmut Grier...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 113–137.
Published: 01 May 2019
...Brenda Longfellow Chantal Akerman’s last film, No Home Movie (Belgium/ France, 2015), a film that is now impossibly freighted with the news of her suicide, provides a poignant reflection on many of the themes and formal strategies that Akerman has employed throughout her storied career. Shot by...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 67–73.
Published: 01 May 2019
...Babette Mangolte This essay describes the last work by Chantal Akerman, an installation titled NOW made between January and March 2015 for the 2015 Venice Biennale. The author interrogates an installation work that is not linear and that changes while looking at it, producing thoughts as much as...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2003) 18 (1 (52)): 35–83.
Published: 01 May 2003
... for publication as part of the Visible Evidence series at the University of Minnesota Press. All images in this article are taken from the museum installation entitled “Bordering on Fiction: Chantal Akerman’s D’est,” at the Walker Art Center, Minneapolis. Collection Walker Art Center...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 197–217.
Published: 01 May 2019
...Sandra Percival This essay brings to the fore the voice of composer and cellist Sonia Wieder-Atherton, who was Chantal Akerman’s collaborator and life partner for over thirty years. This dialogue was initiated in 2016 by Sandra Percival, founding director of Zena Zezza, who curated LOOKING, REALLY...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 75–89.
Published: 01 May 2019
...Sandy Flitterman-Lewis This tribute to the work and legacy of Belgian filmmaker, writer, and installation artist Chantal Akerman, by a scholar of her work who also knew the filmmaker, is written in short paragraphs beginning with the phrase “I remember,” each recounted memory leading into the next...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 31–57.
Published: 01 May 2019
...Janet Bergstrom For this interview, cinematographer, photographer, and filmmaker Babette Mangolte agreed to focus on her collaborations as cinematographer with Belgian filmmaker Chantal Akerman on her 1970s New York films. Besides Jonas Mekas and Anthology Film Archives, Mangolte brought in the art...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 2019) 34 (1 (100)): 139–161.
Published: 01 May 2019
...Kelley Conway Chantal Akerman’s films are typically characterized as minimalist and melancholy due to her signature long takes and understated performances. Yet her films also express extraordinary lyricism and euphoria, notably through song. Amid the highly patterned narratives and the exquisitely...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 137–145.
Published: 01 September 1977
...Chantal Akerman; Christina Creveling © 1977 by Camera Obscura 1977 Women Working CHANTAL AKERMAN News From Home (1976) 16mm; color; sound A film of images of New York City, what you see every day when you live there. Akerman left Belgium one day when she was twenty...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1977) 1 (2 (2)): 115–121.
Published: 01 September 1977
...Chantal Akerman © 1977 by Camera Obscura 1977 Jeanne Die/man, 23 Quai du Commerce, 1080 Bruxelles by Chantal Akerman Jeanne Die/man, 23 Quai du Commerce, 1080 Bruxelles is a film that seems absolutely clear on one viewing. In three hours and 20 minutes we observe three...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 September 1980) 2 (2 (5)): 116–118.
Published: 01 September 1980
... © 1980 by Camera Obscura 1980 I 16 INDEX CAMERA OBSCURAh-3-4 Akerman, Chantal Interview with Camera Obscura OnJeanne Dielman. Vol. I, no. 2; pp. I 18-121. Augst, Bertrand The Apparatus: Metapsychological Approaches to the...
Journal Article
Camera Obscura: Feminism, Culture, and Media Studies (1 May 1979) 1-2 (3-1 (3-4)): 3–4.
Published: 01 May 1979
... the Avant-Garde.” As preparation for the conference, in the three weeks preceding it, the Co-op had screened several films which have been important to our work: Yvonne Rainer’s Film About a Woman Who.. ., Jackie Raynal’s Deux Fois, Chantal Akerman’s News from Home, Marguerite Duras’s...