...Chantal Akerman 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 days in the life of a middle-class...

.... The format is derived from writer Georges Perec, and the essay connects these artists through their experiences as Holocaust survivors or children of survivors. Touching on Akerman’s Jewish heritage, her early success with the film Jeanne Dielman: 23 quai du Commerce, 1080 Bruxelles (Belgium/France, 1975...

... of production and reception, I argue that the content and form of TV in its developmental years directly contextualize industry and society. In its first decades of mass use, television refigured spatial relationships by creating an uncanny liminality between the public sphere of commerce and entertainment...

..., East Texas State University (as of Sept. 1996, Texas A&M University at Commerce), Commerce, TX 75429; FAX (903) 886-5980; or E-MAIL [email protected]. Copyright © 1995 by Indiana University Press 1995 ...

...Mary Jo Lakeland The Color of Jeanne Dielman Mary Jo Lakeland A careful examination of the use of color in Chantal Akerman’s film, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles, reveals a rigorously consistent system which, as much as lighting, camera angles, stationary camera...

... red truck accompanied by their voice-over discussion of the terms of their business arrangement. The association of sound and image makes a visual play on words between one idea of cornrnerce- trucking-and another-sex (in fact this section of the film is titled “Le Commerce But also...

.... In a scene towards the end of Xala, El Hadji is being hounded out of the Chamber of Commerce by his equally corrupt colleagues. His most vindictive antagonist seizes his attache case, and opens it to find it empty except for the magic object with which El Hadji had attempted to ward off the curse...

.... The Sounds of Commerce: Marketing Popular Film Music by Jeff Smith. Columbia UP, 1998. The Politics of Focus: Women, Children, and Nineteenth-Century Photogra- phy by Linsay Smith. Manchester UP, 1998. Not Just Race, Not lust Gender: Black Feminist Readings by Valerie...

... will no doubt be helpful? The film opens with what amounts to an overture during which we witness the expulsion of the French members of the Chamber of Commerce by a group of Senegalese “hommes d’affaires” in tradi- tional dress. At the close of the overture a meeting among the newly...

..., no. 3-4;pp. 133-134. Bergstrom, Janet Yvonne Rainer: An Introduction. Vol. I, no. I; pp. 53-73. Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman). Vol. I, no. 2; pp. 115-118. Rereading the work of Claire Johnston. Vol. I...

... Cooper, has historically helped make classics of such women’s films as  Julie Dash’s Daughters of the Dust (US/UK, 1991). (In the months between Reichardt’s and Kim’s premieres, Film Forum’s revival screen featured the successful rerelease of  Jeanne Dielman, 23 Quai Du Commerce, 1080...

... (in progress). Jayamanne , Laleen . “A Deconstruction of the Construction and Destruction of ‘What Is Black and White and Red Allover?’” Australian Journal of Screen Theory 7 ( 1980a ). Jayamanne , Laleen . “Modes of Performance in Chantal Akerman's Jeanne Dielman, 23 Quai de Commerce, 1080...

... Commerce, 1080 Bruxelles, 1975); the "Words" se- quence of Michael Snow's Rameau's Nephew; and RoofPiece, 1973, with Trisha Brown; video camerawork for pieces by Joan Jonas (Organic Honey's VerticalRolI, 1973; Funnel, 1974; GlassPuzzie, 1974). WHAT MAISIE KNEW (1975) 58 min. ; B& W; 16mm...

... and inflexible terms. I felt that ideo- logical analysis had to advance into more socially specific terrains to answer pressing questions about other substantive variables involved in the spectator’s day-to-day commerce with the media. These problems led me to reorient my work methodologically...

... NOTES *Jean-Luc Godard, “Propos rompus,” Cahiers du Cinema, no. 316 (October 1980), p. 15 I. Ibid. 2. “Qu’est-ce quc tu regardes? Ca ne nous regarde plus. Allez, tu viens, CCcile?” 3. Pascal Bonitzer, “Peur et commerce,” Cahiers du Cinima, no. 316, p. 6...

... of films, the human body is a recurring object of anxious attention: it is the site where the global flow of information and commodities is joined to the global flow of contagious diseases. Through this juncture, the movement of bodies and commerce across geopolitical boundaries is conflated...

... in Teraoka’s work. Teraoka’s technique simulates ukiyoe woodblocks in watercolors, linking them with U.S. pop art and commerce. Throughout the AIDS series, Teraoka uses Kabuki imagery. This painting is set up as a theatrical scene, and at the top, as if the entire scene were a Kabuki illustration...

... and an understanding of how the youth serviceinternational commerce; the facility to move, high-tech beepers in hand and guns at the ready, adroitly between the realm of formal education and the informal crack- based economic sector. So skilled in the ways of the L.A. economy are the recent high...

.... In other words, fears about the invasion of privacy and the dehumanizing effects of media commerce were partially the inheritance of the overlapping symbolic, visual, and commercial economies of slavery, for which the spectacle of the enslaved body serves as the central organizing principle...

... serial films. 9. C. J. North, comp., “The Chinese Motion Picture Market,” Trade Information Bulletin, no. 467, Bureau of Foreign and Domestic Commerce, US Department of Commerce, 2. I am aware that North’s data could be infated, as demonstrated in David Newman’s recent...