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Nothing happens : Chantal Akerman's hyperrealist everyday /
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,...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Durham :
Duke University Press,
©1996.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Margulies, Ivone, |e author. | |
| 245 | 1 | 0 | |a Nothing happens : |b Chantal Akerman's hyperrealist everyday / |c Ivone Margulies. |
| 246 | 3 | 0 | |a Chantal Akerman's hyperrealist everyday |
| 260 | |a Durham : |b Duke University Press, |c ©1996. | ||
| 300 | |a 1 online resource (xi, 270 pages) : |b illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 347 | |a text file | ||
| 347 | |b PDF | ||
| 504 | |a Includes bibliographical references (pages 247-261) and index. | ||
| 533 | |a Electronic reproduction. |b [Place of publication not identified] : |c HathiTrust Digital Library, |d 2010. |5 MiAaHDL | ||
| 538 | |a Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. |u http://purl.oclc.org/DLF/benchrepro0212 |5 MiAaHDL | ||
| 583 | 1 | |a digitized |c 2010 |h HathiTrust Digital Library |l committed to preserve |2 pda |5 MiAaHDL | |
| 588 | 0 | |a Print version record. | |
| 505 | 0 | 0 | |t Chantal Akerman's Films: The Politics of the Singular -- |g 1. |t Nothing Happens: Time for the Everyday in Postwar Realist Cinema -- |g 2. |t Toward a Corporeal Cinema: Theatricality in the '70s -- |g 3. |t The Equivalence of Events: Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles -- |g 4. |t Expanding the "I" Character in Experimental Feminist Narrative -- |g 5. |t "HER" and Jeanne Dielman Type as Commerce -- |g 6. |t Forms of Address Epistolary Performance, Monologue, and Bla Bla Bla -- |g 7. |t The Rhythm of Cliche: Akerman into the '90s -- |t To Conclude: It Is Time. |
| 520 | |a 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 | ||
| 546 | |a In English. | ||
| 590 | |a JSTOR |b Books at JSTOR All Purchased | ||
| 590 | |a JSTOR |b Books at JSTOR Demand Driven Acquisitions (DDA) | ||
| 600 | 1 | 0 | |a Akerman, Chantal |x Criticism and interpretation. |
| 600 | 1 | 7 | |a Akerman, Chantal |2 fast |
| 650 | 7 | |a PERFORMING ARTS |x Reference. |2 bisacsh | |
| 650 | 7 | |a SCIENCE |x History. |2 bisacsh | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 776 | 0 | 8 | |i Print version: |a Margulies, Ivone. |t Nothing happens. |d Durham : Duke University Press, ©1996 |z 0822317265 |w (DLC) 95030516 |w (OCoLC)32699931 |
| 856 | 4 | 0 | |u https://jstor.uam.elogim.com/stable/10.2307/j.ctv123x68q |z Texto completo |
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