Chantal Akerman:
A Bibliography of Materials in the UC Berkeley Library
- Allen, Sharon Lubkemann
- "Chantal Akerman's Cinematic Transgressions:
Transhistorical and Transcultural Transpositions, Translingualism, and the
Transgendering of the Cinematic Gaze." In: Situating the feminist gaze and spectatorship in postwar cinema." / ed. Marcelline Block. Newcastle : Cambridge Scholars, 2008.
Main (Gardner) Stacks PN1995.9.W6 S58 2008
- Bergstrom, Janet
- "Chantal Akerman : splitting." In:Endless night : cinema and psychoanalysis, parallel histories / edited by Janet Bergstrom. Berkeley : University of California Press, c1999.
Main Stack PN1995.9.P783.E53 1999
- Bergstrom, Janet
- "Keeping a distance." (works of Chantal Akerman)
Sight and Sound Nov 1999 v9 i11 p26(3)
- Assessment of the films of Chantal Akerman which suggest that the director's films from the 70's re-invented feminist cinema and found a new, personal way of screening women.
- Bouquet, S.
- "L'absence de Chantal." [Akerman's film as self-portrait]. Cahiers du Cinema no. 510 (February 1997) p. 11
- "A review of Chantal Akerman's self-portrayal in her film Chantal Akerman par Chantal Akerman, which will be shown on French television on February 19, 1997. Consisting of 40 minutes of extracts from her films and with no commentary, the film lacks any reflection on her art, and the viewer is left undecided, confused, and hesitant." [Art Index]
- Cabanas, K. M., et. al.
- "What the Map Cuts up, the Story Cuts across: Chantal Akerman's "De l'autre cote" / La ou la carte decoupe, le recit traverse "De l'autre cote" de Chantal Akerman." Parachute no. 120 (October/November/December 2005) p. 12-27
UC users only
- "Part of a special issue devoted to the notion of borders as addressed by contemporary art. A discussion of the recent documentary work of Chantal Akerman. In this work, Akerman's attention to gender, cultural, and historical difference is always explored through aesthetic means, therefore providing a fruitful alternative to the rhetoric of ethnographic film as conceived within documentary realism's framework. Through her hyperbolic use of formal devices, Akerman is able to effect and extend the film medium's materiality to the subjects and objects both in and outside her films. Her experimental ethnographic projects are informed by her placing of film's materiality at the service of referentiality--thereby enacting a division within her practice between the material and the referential, the literal and the symbolic, the indexical and the abstract. The writer goes on to discuss Akerman's ethnographic projects D'Est (1993), a film shot in Germany, Poland, and Russia; and De l'autre cote</EM%> (2002), a film shot on both sides of the Mexican-American border." [Art Index]
- Chantal Akerman par Chantal Akerman
- [New York, NY]: First Run/Icarus Films, 1996.
Media Resources Center: VIDEO/C 8314
- Creveling, C.
- "Women working." Camera Obscura nr 1 (Fall 1976); p 128-139
- Biographic and annotated filmographic information on five female directors: Anne Severson, Babette Mangolte, Kathleen Laughlin, Dore O. and Chantal Akerman.
- Dubroux, D.; others
- "Entretien avec Chantal Akerman." Cahiers du Cinema nr 278 (July 1977); p 34-42
- C.A. discusses her conception of cinema.
- Fowler, Kathy.
- "Chantal Akerman." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson. pp: 489-91. Oxford ; New York : Oxford University Press, 1998.
Main Stack PN1995.O93 1998
- Fowler, Kathy.
- "Chantal Akerman." In: World cinema : critical approaches / edited by John Hill and Pamela Church Gibson. Oxford ; New York : Oxford University Press, 2000.
Main Stack PN1995.W6453 2000
- Fowler, Catherine
- "Cinefeminism in Its Middle Ages, or 'Please, Please, Please Give Me Back My Pleasure': The 1990s Work of Sally Potter, Chantal Akerman, and Yvonne Rainer." In: Women filmmakers : refocusing / edited by Jacqueline Levitin, Judith Plessis, and Valerie Raoul. Vancouver : UBC Press, 2002.
Main Stack PN1995.9.W6.W655 2003
- Identity and memory : the films of Chantal Akerman
- Edited by Gwendolyn Audrey Foster. Carbondale : Southern Illinois University Press, c2003.
MAIN: PN1998.3.A435 I33 2003
- James, Nick
- "Magnificent obsession." (interview with film director Chantal Akerman) Sight and Sound May 2001 v11 i5 p20(2)
UC users only
- Interview with Chantal Akerman who discusses her film "La captive", inspired by Proust. Akerman discusses autobiographical elements in the film, rehearsing the actors, the dream-like feel of the film. Incl. review.
- Kinder, Marsha
- "The subversive potential of the pseudo-iterative." Film Quarterly Vol XLIII nr 2 (Winter 1989-90); p 2-16
- Discovers examples of the iterative tense, used frequently in literature, in the narratives of "Umberto D.", "Il posto" and "Toute une nuit".
- Lebow, Alisa
- "Memory once removed: indirect memory and transitive autobiography in Chantal Akerman's D'Est." Camera Obscura May 2003 p34(50)
UC users only
- "The writer discusses issues of displaced memory and indirect Jewish identity in Chantal Akerman's 1996 film D'Est (From the East). The Holocaust created a distinct and traumatic before and after for generations of post-Holocaust Jews. The effect for Ashkenazi Jews of Eastern European descent is that "the old country" becomes an imaginary construct with no actual geographical correlate. In D 'Est, in which she goes "back" to Eastern Europe, the region where her parents lived until World War II, Akerman attempts to reach across the divide while simultaneously conceding the futility of the gesture. Not only is her method indirect but her memory is as well; it is in effect her mother's memory that weighs on Akerman as if it were her own. The writer shows how, with this appropriation of another's memory, there is an extended sense of self at work that challenges commonly held conceptualizations of individual memory as well as any narrow definition of autobiography." [Art Index]
- Lebow, Alisa
- "Memory once removed: indirect memory and transitive autobiography in Chantal Akerman's D'Est." In: First person Jewish / Alisa S. Lebow. Minneapolis : University of Minnesota Press, c2008.
Main (Gardner) Stacks PN1995.9.J46 L43 2008
- Longfellow, Brenda
- "Love letters to the mother: the work of Chantal Akerman." Canadian Journal of Political and Social Theory Annual 1989 v13 i1-2
- Margulies, Ivone.
- Nothing happens : Chantal Akerman's hyperrealist everyday Durham : Duke University Press, c1996.
MAIN: PN1998.3.A435 M37 1996
- Martin, Angela; Chantal Akerman
- "Chantal Akerman's Films: A Dossier." Feminist Review No. 3 (1979), pp. 24-47
UC users only
- McRobbie, Angela.
- "Chantal Akerman and Feminist Film-Making." In: Women and film : a Sight and sound reader / edited by Pam Cook and Philip Dodd. pp: 198-203. Philadelphia : Temple University Press, 1993. Culture and the moving image.
Main Stack PN1995.9.W6.W63 1993
Moffitt PN1995.9.W6.W63 1993
- McRobbie, Angela.
- "Passionate uncertainty./ Nuit et jour (Night and day)." Sight & Sound Vol II nr 5 (Sept 1992); p 28-29,54-55 Examination of Chantal Akerman's treatment of sex and sexuality in her films, incl. her latest, "Nuit et jour".
- Montgomery, Sarah
- "Women's Women's FilmsWomen's Women's Films." Feminist Review, No. 18, Cultural Politics (Winter, 1984), pp. 38-48
UC users only
- Morley, Meg.
- "Les Rendez-Vous d'Anna (Chantal Akerman)." Camera Obscura, Summer79 Issue 3/4, p211-215, 3p
- Pursley, Darlene.
- "Moving in Time: Chantal Akerman's Toute une nuit." MLN. Dec 2005. Vol. 120, Iss. 5; pg. 1192, 14 pgs
UC users only
- Rich, B. Ruby
- " Designing desire : Chantal Akerman." In: Chick flicks : theories and memories of the feminist film movement / B. Ruby Rich. Durham, N.C. : Duke University Press, 1998.
Grad Svcs PN1995.9.W6.R47 1998 Non-circulating; may be used only in Graduate Services.
Main Stack PN1995.9.W6.R47 1998
- Richard, Frances
- "Chantal Akerman." (New York, New York) Artforum International Nov 1998 v37 i3 p113 (767 words)
- "Filmmaker Chantal Akerman's 1998 exhibition in New York, NY, offers a glimpse of her experimentation with cinema as well as her intimate vision. Her installation combined video quotations from the films 'Jeanne Dielman,' '1080 Bruxelles,' '23 Quai du Commerce' and 'D'Est,' with a novella-length text entitled 'A Family in Brussels, 1998' functioning as an ambient voice-over. Akerman's cinematography was compelling due to its reliance on attenuated movement and muted color." [Expanded Academic Index]
- Rosen, M.
- "In Her Own Time." [Interview with Chantal Akerman]. Artforum International v. 42 no. 8 (April 2004) p. 122-7
- Shaviro, Steven
- "Cliches of Identity: Chantal Akerman's Musicals." Quarterly Review of Film and Video v. 24 no. 1 (2007) p. 11-17
- "Chantal Akerman's 1986 musical Window Shopping is discussed. This film is set in an indoor shopping mall where everything is about display and appearances, and where its characters work and play, sing and dance, and, above all, gossip and flirt, their behavior conforming to stereotypes of romance and retail sales alike. It suggests an equation between deadpan postmodern irony, the ubiquitous commodification of all forms of self-expression, and the conventional nature of the signs that represent our feelings both to others and, perhaps most crucially, to ourselves. This point is already made in Akerman's 1983 film The Eighties, which she made as a sort of demo tape for it, and which contains many sequences that correspond closely to the ones in it, albeit to a very different effect: The earlier film illustrates the process of construction of feelings and roles, and this one shows those feelings and roles already constructed." [Art Index]
- Squire, C.
- "Toute une heure." Screen Vol XXV nr 6 (Nov-Dec 1984); p 67-71
- Akerman talks about her films and future plans.
- Taubin, A.
- "Mothers' Day: Amy Taubin on Chantal Akerman." Artforum International v. 44 no. 2 (October 2005) p. 61
- Turner, Lynn
- "Braiding Polyphony: Je tu il elle & lui." Performance Research; Mar2003, Vol. 8 Issue 1, p93, 7p
- "Performes a reading of the 1974 film 'Je tu il elle,' by the French minimalist director, performance artist and feminist, Chantal Akerman, paying close attention to the use of voice, especially as it remarks the divergence between acoustic and visual tracks. Questions raised about the materiality of the cinematic medium; Saturation of the film with authorial signature; Akerman's citation of signatures from her own works; Organization of 'Je tu il elle,' into three tableaux; Absence of movement and voicetracks in the beginning of the film; Speech marks and synchronization used in the film." [Ebsco]
- Vojkovic, Sasha
- "On the Borders of Redemption: Recovering the Image of the Past." Parallax; Jul99, Vol. 5 Issue 3, p90-101, 12p
UC users only
- Focuses on the issue on redemption, particularly the redeeming power of the city. Focus on the motion pictures 'D'Est,' by Chantal Akerman and 'Wings of Desire,' by Wim Wenders; Connection between images and history; Implications of the absence of a destination or the point of departure.
- White, Jerry
- "Chantal Akerman." In: Women and experimental filmmaking / edited by Jean Petrolle and Virginia Wright Wexman. Urbana : University of Illinois, c2005.
Table of contents http://www.loc.gov/catdir/toc/ecip055/2004029712.html
Main Stack PN1995.9.E96.W66 2005
- Williams, Bruce
- "A transit to significance: poetic discourse in Chantal Akerman's Toute une nuit." Literature/Film Quarterly Vol XXIII nr 3 (July 1995); p 216-222
UC users only
- La Captive
- Benoliel, B.
- "La captive." Cahiers du Cinema no. 550 (October 2000) p. 14-17, 19
- "A review of La Captive, a film by Chantal Akerman. An adaptation of Proust's La Prisonniere, this film represents and dramatizes Simon's obsession with Ariane. Akerman approaches the film via an unpredictable and roundabout route, by way of Hitchcock and Kubrick but above through the modes of modern cinema of the 1970s, the accents of which can be seen in the interaction of the actors, the choice of sequence shots, and the real-life representation of frontality and violence. The fascination of the film comes, among other things, from the miraculous balance of all its parts." [Art Index]
- Beugnet, Martin; Schmid, Marion
- "Filming jealously: Chantal Akerman's La Captive (2000)." Studies in French Cinema; 2002, Vol. 2 Issue 3, p157, 7p
UC users only
- Bonnaud, F.
- "Proust regained." [C. Akerman's film, La captive based on M. Proust's La prisonniere]. Film Comment v. 36 no. 4 (July/August 2000) p. 61
- "Chantal Akerman's La Captive completely respects and engages with the spirit of the novel it is based on, which more than makes up for it not being literally faithful. The film is a free update of Marcel Proust's The Prisoner, generally regarded as the least adaptable section of Remembrance of Things Past. Akerman has changed the names of the two main characters, and viewers unfamiliar with Proust's work could leave the film without suspecting its origins. To make an extreme simplification, The Prisoner is a novel in which nothing happens, or in which something is happening but the reader never knows exactly what. Instead of attempting to fill the novel's deliberate gaps, Akerman seizes on them to proffer her unique poetic vision." [Art Index]
- Delorme, S.
- "La captive." Cahiers du Cinema no. 550 (October 2000) p. 20-1
- " The writer discusses the influences on Chantal Akerman's film La Captive. This film is almost a thriller, and its dramatic mise en scene of obsession and wandering recalls Alfred Hitchcock's film Vertigo and Stanley Kubrick's Eyes Wide Shut. It deviates significantly from the novel by Proust, La Prisonniere, from which it is adapted. Through this work, Akerman has shown that adaptation is not a translation but a montage." [Art Index]
- Lopate, Phillip; Bonnaud, Frederic
- "Memory loves company./ Proust regained." Film Comment Vol XXXVI nr 4 (July-Aug 2000); p 57-60
- Reflects on how Ruiz successfully brings Marcel Proust to the screen with "Le Temps retrouvé", followed by a review of Chantal Akerman's Proust adaptation, "La Captive", in which the two films are compared.
- McKibbin, Tony.
- "La Captive and the power of love." Studies in French Cinema, 2003, Vol. 3 Issue 2, p93-99, 7p;
UC users only
- Vincendeau, G.
- "La Captive." Sight & Sound v. ns11 no. 5 (May 2001) p. 45
UC users only
- "Akerman's Proust adaptation is made more difficult by her choice of one of his most difficult volumes, setting it in the present, and filming it in her trademark minimalist style. While her film obsessively pursues the "mystery" of lesbian desire, she keeps Proust's male viewpoint and only offers ambiguous answers. The characters are reduced to ciphers, which is reflected in dull performances." [Art Index]
- Jeanne Dielman
- Autour de Jeanne Dielman (1975-2004)
- An unpublished documentary on the filming of "Jeanne Dielman" mounted by Chantal Akerman and Agnes Ravez and filmed throughout the shooting by Sami Frey. Looks at the relationships during rehearsals between Delphine Seyrig, Chantal Akerman and the team, almost exclusively female. Special feature: Entretien avec Chantal Akerman (1966; 17 min. : sd., col.) 78 min. DVD 8267
- Bergstrom, Janet
- " 'Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles' by Chantal Akerman." Camera Obscura nr 2 (Fall 1977); p 114-121
- Analysis of 'Jeanne Dielman', followed by an interview with its director, Chantal Akerman.
- Flitterman-Lewis, Sandy
- "What's Beneath Her Smile? Subjectivity and Desire in Germaine Dulac's The Smiling Madame Beudet and Chantal Akerman's Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles." In: Identity and memory : the films of Chantal Akerman Edited by Gwendolyn Audrey Foster. Carbondale : Southern Illinois University Press, c2003.
PN1998.3.A435 I33 2003
- Fowler, Catherine
- "Jeanne Dielman 23 quai du Commerce 1080 Bruxelles/Jeanne Dielman." In:
- Heinic, N.
- "Notes sur l'hyperrealisme."Cahiers du Cin?ma nr 273 (Jan-Feb 1977); p 30-33
- The portrayal of women in films, esp. in "Jeanne Dielman..." and "L'amour bless?".
- Kinder, Marsha
- "Reflections on 'Jeanne Dielman'." Film Quarterly Vol XXX nr 4 (Summer 1977); p 2-8
UC users only
- Kinsman, R. Patrick
- "She's Come Undone: Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) and Countercinema." Quarterly Review of Film and Video, vol. 24, no. 3, pp. 217-24, May 2007
UC users only
- Lakeland, M.J.
- "The color of Jeanne Dielman." Camera Obscura nr 3-4 (Summer 1979); p 216-218
UC users only
- On the carefully calculated colour system used by Chantal Akerman in "Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles".
- Lord, Susan
- "Killing Time: The Violent Imaginary of Feminist Media." In: Killing women : the visual culture of gender and violence / Annette Burfoot and Susan Lord, editors. Waterloo, Ont. : Wilfred Laurier University Press, c2006.
Main Stack HV6517.K55 2006
- Patterson, Richard; Farber, Manny
- "Kitchen without kitsch." Film Comment Vol XIII nr 6 (Nov-Dec 1977); p 47-50
- Explanation of the 1970's style structuralist film, as exemplified by 'Jeanne Dielman'.
- Singer, Ben.
- "Jeanne Dielman: Cinematic Interrogation and "Amplification". Millennium Film Journal, Winter1989/Spring1990 Issue 22, p57-75, 19p
- Yervasi, Carina
- "Dislocating the Domestic in Chantal Akerman's Jeanne Dielman." Sites: The Journal of Twentieth Century Contemporary French Studies, vol. 4, no. 2, pp. 385-97, Fall 2000
UC users only
- News From Home
- Cerne, Adriana .
- "Writing in tongues: Chantal Akerman's News From Home." (Critical Essay) Journal of European Studies June-Sept 2002 p235(14)
UC users only
- Mamula, Tijana.
- "Matricide, indexicality and abstraction in Chantal Akerman's News from Home and Là-bas." Studies in French Cinema, 2008, Vol. 8 Issue 3, p265-275, 11p
UC users only
- Walsh, Maria
- "Intervals of Inner Flight: Chantal Akerman's News from Home." Screen, vol. 45, no. 3, pp. 190-205, Fall 2004.
- "The writer engages in a Deleuzian reading of Chantal Akerman's film News From Home (1976). The film is a 90-minute image-track comprising a series of mostly static shots of New York City, never showing the mother-daughter relationship alluded to in the letters that Akerman recites in voiceover. Stephen Heath, in his Questions of Cinema, reads the film in terms of absence based on its lack of sutures using a shot/reverse-shot sequence or central character. Equally, feminist-influenced readings of the film tend to imprison it in a stereotypical psychoanalytic interpretation based around the dichotomy of intimacy and claustrophobia of the mother-daughter relationship. In contrast, it is possible to read Heath's emphasis on absence through a Deleuzian framework to answer Heath's "impossible question of a woman's desire" with the actuality of affective sensations whose movement liberates the spectator from the constraints of identification." [Art Index]
- Williams, Bruce
- "Splintered Perspectives: Counterpoint and Subjectivity in the Modernist Film Narrative." Film Criticism; Winter91, Vol. 15 Issue 2, p2-12, 11p
UC users only
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- [New York, NY]: First Run/Icarus Films, 1996.
