By Ivone Margulies
Margulies grounds her severe research in targeted discussions of Akerman’s work—from Saute ma ville, a 13-minute black-and-white movie made in 1968, via Jeanne Dielman and Je tu il elle to the current. targeting the real-time illustration of a woman’s daily event in Jeanne Dielman, Margulies brings the historical past of social and revolutionary realism and the filmmaker’s paintings into standpoint. Pursuing diverse yet similar traces of inquiry, she investigates an curiosity within the daily that stretches from postwar neorealist cinema to the feminist rewriting of women’s historical past within the seventies. She then exhibits how Akerman’s “corporeal cinema” is expert by way of either American experiments with functionality and length and the layerings found in works by means of ecu modernists Bresson, Rohmer, and Dreyer. This research revises the drained competition among realism and modernism within the cinema, defines Akerman’s minimal-hyperrealist aesthetics unlike Godard’s anti-illusionism, and divulges the inadequacies of renowned characterizations of Akerman’s movies as both easily modernist or feminist.
An crucial publication for college students of Chantal Akerman’s paintings, Nothing Happens also will curiosity foreign movie critics and students, filmmakers, artwork historians, and all readers enthusiastic about feminist movie theory.
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Nothing Happens: Chantal Akerman’s Hyperrealist Everyday by Ivone Margulies
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