Jeanne Dielman
23, quai du Commerce, 1080 Bruxelles (book in English)
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Catherine Fowler’s study positions Jeanne Dielman as a ‘contrary’ classic, its contrariness arising from director Chantal
Akerman’s decision to frame an unliberated housewife through a kind of ‘slow looking’. By choosing to stay with Jeanne in the kitchen, the film both ‘differences’ the canon and diverges from Akerman’s liberated early films, which involved the rejection of domestic space, married life and the heterosexual script.
Fowler draws on original footage, scripts, unmade and unseen projects, interviews and other documents to painstakingly piece together the making of the film, discovering an alternative origin story which centers upon female alliances, forged through a combination of shared film culture and lived sexism. Those viewers who take up Akerman’s invitation to spend time with Jeanne will find their expectations of cinema are changed. Because more than any other film before or since, it reminds us that we give our time to a film; and in making us look both harder and for longer it asks us to feel time slipping away, for ourselves as much as for its protagonist.
See the publisher website: BFI Publishing
See Jeanne Dielman (1975) on IMDB ...
> From the same author:
Representing the Rural (2006)
Space, Place, and Identity in Films about the Land
Dir. Catherine Fowler and Gillian Helfield
(in English)
See more books in English from the author Catherine Fowler
> On a related topic:
Chantal Akerman, œuvre écrite et parlée (2024)
by Chantal Akerman and Cyril Béghin
Subject: Director > Chantal Akerman
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