Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles
Catherine Fowler
Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles
Catherine Fowler
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Engels
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Omschrijving
Lucid, lively and extremely knowledgeable.
Lucid, lively and extremely knowledgeable.
Another must for the feminist bookshelf. Unprecedented and long-awaited, this detailed, comprehensive analysis of this first film “in the feminine” will, like the film itself, offer hours of endless contemplation and fascination.
Catherine Fowler’s intricate and compassionate reading of Jeanne Dielman’s feminist poetics, politics and aesthetics is a very welcome addition to the BFI Classics series. Long considered a cardinal work of art with regard to the feminist filmmaking canon, I am delighted to see this entirely unique and subversive film finally getting the attention it deserves from this series. This book will be a vital resource to feminist film scholars and students as well as film enthusiasts. It contains extensive historical and contextual detail that serves to re-position Dielman as a film brought into being through feminist collaboration and alliance. Fowler attends carefully to Seyrig’s astonishing gestural performance and the precise mechanics of Akerman’s use of space and time to build a profound and generous reading of this much-loved film. Highly recommended.
Catherine Fowler is Associate Professor in Film at the University of Otago, New Zealand. She has been a student of Chantal Akerman’s cinema for some twenty five years, having written her PhD on Akerman's ‘cinema of displacements’ and has published an article on Jeanne Dielman in the edited volume 24 Frames: The Cinema of the Low Countries (ed. Mathijs, 2004).
Lucid, lively and extremely knowledgeable.
Another must for the feminist bookshelf. Unprecedented and long-awaited, this detailed, comprehensive analysis of this first film “in the feminine” will, like the film itself, offer hours of endless contemplation and fascination.
Catherine Fowler’s intricate and compassionate reading of Jeanne Dielman’s feminist poetics, politics and aesthetics is a very welcome addition to the BFI Classics series. Long considered a cardinal work of art with regard to the feminist filmmaking canon, I am delighted to see this entirely unique and subversive film finally getting the attention it deserves from this series. This book will be a vital resource to feminist film scholars and students as well as film enthusiasts. It contains extensive historical and contextual detail that serves to re-position Dielman as a film brought into being through feminist collaboration and alliance. Fowler attends carefully to Seyrig’s astonishing gestural performance and the precise mechanics of Akerman’s use of space and time to build a profound and generous reading of this much-loved film. Highly recommended.
Catherine Fowler is Associate Professor in Film at the University of Otago, New Zealand. She has been a student of Chantal Akerman’s cinema for some twenty five years, having written her PhD on Akerman's ‘cinema of displacements’ and has published an article on Jeanne Dielman in the edited volume 24 Frames: The Cinema of the Low Countries (ed. Mathijs, 2004).