Chantal Akerman’s Là-bas: The Suspended Image and the Politics of Anti-Messianism Chrysanthi Nigianni July 2013 Feature Articles It is this double exigency-recognition of the closure of the political and practical deprivation of philosophy as regards itself and its own authority– which leads us to think in terms of re-treating the politi...
D’Est: Spectres of Communism Steven Ball May 2013 CTEQ Annotations on Film In Ken McMullen’s 1983 film Ghost Dance, Jacques Derrida, improvising the role of a professor, is asked by Pascale Ogier, improvising the role of a student, whether he believes in ghosts. Derrida answers: That...
Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles Jenny Chamarette May 2013 CTEQ Annotations on Film There is something very subversive about watching a woman, in an old-fashioned housecoat, lovingly dusting the ornaments in her glass cabinet, preparing a fresh batch of coffee, anxiously peeling potatoes, glan...
Je tu il elle Tamara Tracz May 2013 CTEQ Annotations on Film Some readings of Chantal Akerman’s Je tu il elle (I, You, He, She, 1974) assign the character Akerman portrays to je (me), the viewer to tu (you), the truck driver with whom she hitches a lift to il (him), and ...
Invested in Expression or in Its Destruction?: The Politics of Space and Representation in Chantal Akerman’s Cinema Zain Jamshaid September 2012 Feature Articles The objective of this article is to examine the hyperrealist, feminist tactics of Chantal Akerman’s early 1970s films Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles(1975) and, especially, Je tu il elle (19...
