{"title":"Before, between and beyond: Chantal Akerman’s impenetrable landscapes","authors":"Jacqui Usiskin","doi":"10.1386/miraj_00011_1","DOIUrl":"https://doi.org/10.1386/miraj_00011_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45256341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2004, Chantal Akerman created two works – a feature film Tomorrow We Move (Akerman, 2004) and a video installation To Walk Next to One’s Shoelaces in an Empty Fridge (Akerman, 2004) – which feature the diary that her Jewish maternal grandmother had kept before dying at Auschwitz. Prompted by the contradictions manifest in the installation (spontaneity vs control; uniqueness vs familiarity), I will argue for an intricate interrelation between the documentary video and the fiction film. In relation to the thematic content of both works, I will subsequently demonstrate that the ‘porous’ form of narrative that this assemblage generates allows Akerman to challenge and transform dominant conceptions of storytelling, identity, history and memory. In particular, through analysing the modes of writing she portrays in both films in relation to Virginia Woolf ’s work, I will contend that Akerman is deeply aware of the political implications of thinking porously.
{"title":"‘A matter of skin’: Chantal Akerman’s ‘porous narratives’","authors":"M. Jacquin","doi":"10.1386/miraj_00007_1","DOIUrl":"https://doi.org/10.1386/miraj_00007_1","url":null,"abstract":"In 2004, Chantal Akerman created two works – a feature film Tomorrow We Move (Akerman, 2004) and a video installation To Walk Next to One’s Shoelaces in an Empty Fridge (Akerman, 2004) – which feature the diary that her Jewish maternal grandmother had kept before dying\u0000 at Auschwitz. Prompted by the contradictions manifest in the installation (spontaneity vs control; uniqueness vs familiarity), I will argue for an intricate interrelation between the documentary video and the fiction film. In relation to the thematic content of both works, I will subsequently\u0000 demonstrate that the ‘porous’ form of narrative that this assemblage generates allows Akerman to challenge and transform dominant conceptions of storytelling, identity, history and memory. In particular, through analysing the modes of writing she portrays in both films in relation\u0000 to Virginia Woolf ’s work, I will contend that Akerman is deeply aware of the political implications of thinking porously.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49609354","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On Les Rendez-vous d’Anna and Jeanne Dielmann","authors":"Dominique Païni","doi":"10.1386/miraj_00010_1","DOIUrl":"https://doi.org/10.1386/miraj_00010_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47550943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Siobhan Davies Dance, London, 27 February–11 April 2018
Siobhan Davies舞蹈，伦敦，2018年2月27日至4月11日
{"title":"Yvonne Rainer: The Choreography of Film","authors":"P. Epps","doi":"10.1386/miraj_00018_4","DOIUrl":"https://doi.org/10.1386/miraj_00018_4","url":null,"abstract":"Siobhan Davies Dance, London, 27 February–11 April 2018","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46773043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Seeing horizontally: Babette Mangolte interviewed by Bryony Gillard and Louis Hartnoll","authors":"Bryony Gillard, Louis C Hartnoll","doi":"10.1386/miraj_00013_7","DOIUrl":"https://doi.org/10.1386/miraj_00013_7","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44428203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article elucidates the complex ethical paradigm at the heart of Chantal Akerman’s work and thought, arguing first that her ethics are as concerned with the figure of the self as they are with the figure of the other and that, second, these ethics exist as much in the spatial and durational structures of her work as in the content of her images. In this way, this article contends that approaching Akerman’s work through the question of ethics allows one to see consistencies across her film and installation work, even as her aesthetic strategies shift across the different dispositifs of the cinema and the gallery or museum. Addressing these shifts, I offer the concept of Akerman’s ‘ethical pedagogy of the image’ – a term that implies both a method and a site of instruction. Drawing on these two meanings, this article ultimately reveals that Akerman’s pedagogical aim involves turning viewers’ ethical attention back on to themselves – to offer a prompt and a space for reconsideration of their own ethos.
{"title":"‘A pedagogy of the image’: Chantal Akerman’s ethics across film and art","authors":"Kate Rennebohm","doi":"10.1386/miraj_00004_1","DOIUrl":"https://doi.org/10.1386/miraj_00004_1","url":null,"abstract":"This article elucidates the complex ethical paradigm at the heart of Chantal Akerman’s work and thought, arguing first that her ethics are as concerned with the figure of the self as they are with the figure of the other and that, second, these ethics exist as much in the spatial\u0000 and durational structures of her work as in the content of her images. In this way, this article contends that approaching Akerman’s work through the question of ethics allows one to see consistencies across her film and installation work, even as her aesthetic strategies shift across\u0000 the different dispositifs of the cinema and the gallery or museum. Addressing these shifts, I offer the concept of Akerman’s ‘ethical pedagogy of the image’ – a term that implies both a method and a site of instruction. Drawing on these two meanings, this article ultimately\u0000 reveals that Akerman’s pedagogical aim involves turning viewers’ ethical attention back on to themselves – to offer a prompt and a space for reconsideration of their own ethos.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41535067","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In my 2004 article on Chantal Akerman’s News From Home (1976), I deployed a Deleuzian reading of the film to release the film from being interpreted as manifesting the impossibility of a woman’s desire (Stephen Heath) or a desire to return to the mother (Richard Kwietniowski), arguing instead that the indeterminacy of the final sequence opens out onto a transformative freedom from identity. In this article, I persist with this idea but reconsider it in relation to Griselda Pollock’s convincing insistence that Akerman’s work is a journey towards maternal trauma, a position that she develops in relation to Akerman’s installation Walking Next to One’s Shoelaces Inside an Empty Fridge. Before encountering this work, Pollock says that Akerman’s cinematic intervention was linked to ‘the choked feminine voice in culture meeting a new cinematic formalism’ rather than to the ‘deeper trauma’ of being the child of a Holocaust survivor. Pollock’s convincing reading of Akerman’s installation as visualizing the effects of unmourned trauma transmitted to the children of Holocaust survivors had a profound impact on me, one that I take into consideration in my reframing in this article of the final sequence of News From Home. In this, I deploy Raymond Bellour’s adaptation of psychoanalyst Daniel Stern’s notion of ‘amodal perception’ as a sensory, kinetic modality of spectatorship. This model allows me to retain the transformative freedom from identity in my earlier reading, while nonetheless mapping early intersubjective relations onto the pleasures of the film body Akerman called ‘la jouissance du voir’.
{"title":"News From Home the redux version: Amodal perception and ‘la jouissance du voir’","authors":"Maria Walsh","doi":"10.1386/miraj_00003_1","DOIUrl":"https://doi.org/10.1386/miraj_00003_1","url":null,"abstract":"In my 2004 article on Chantal Akerman’s News From Home (1976), I deployed a Deleuzian reading of the film to release the film from being interpreted as manifesting the impossibility of a woman’s desire (Stephen Heath) or a desire to return to the mother (Richard Kwietniowski),\u0000 arguing instead that the indeterminacy of the final sequence opens out onto a transformative freedom from identity. In this article, I persist with this idea but reconsider it in relation to Griselda Pollock’s convincing insistence that Akerman’s work is a journey towards maternal\u0000 trauma, a position that she develops in relation to Akerman’s installation Walking Next to One’s Shoelaces Inside an Empty Fridge. Before encountering this work, Pollock says that Akerman’s cinematic intervention was linked to ‘the choked feminine voice in culture meeting\u0000 a new cinematic formalism’ rather than to the ‘deeper trauma’ of being the child of a Holocaust survivor. Pollock’s convincing reading of Akerman’s installation as visualizing the effects of unmourned trauma transmitted to the children of Holocaust survivors had\u0000 a profound impact on me, one that I take into consideration in my reframing in this article of the final sequence of News From Home. In this, I deploy Raymond Bellour’s adaptation of psychoanalyst Daniel Stern’s notion of ‘amodal perception’ as a sensory, kinetic modality\u0000 of spectatorship. This model allows me to retain the transformative freedom from identity in my earlier reading, while nonetheless mapping early intersubjective relations onto the pleasures of the film body Akerman called ‘la jouissance du voir’.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46765643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On marginality as resistance","authors":"Corinne Rondeau","doi":"10.1386/miraj_00012_1","DOIUrl":"https://doi.org/10.1386/miraj_00012_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48119969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
London: Palgrave Macmillan, 209pp., ISBN 9781137365873, Hardback, £79.99
伦敦：麦克米伦，209页。，ISBN 9781137365873，精装本，79.99英镑
{"title":"Memory, Forgetting and the Moving Image, Caterina Albano (2016)","authors":"S. Durcan","doi":"10.1386/miraj_00016_4","DOIUrl":"https://doi.org/10.1386/miraj_00016_4","url":null,"abstract":"London: Palgrave Macmillan, 209pp., ISBN 9781137365873, Hardback, £79.99","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47506818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Akerman the scavenger","authors":"A. Roberts","doi":"10.1386/miraj_00015_1","DOIUrl":"https://doi.org/10.1386/miraj_00015_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41297748","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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