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Themesicon: navigation pathArt and Cinematographyicon: navigation pathAkerman

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Toward a Corporeal Cinema: Theatricality in the \'70s
icon: authorIvone Margulies

Akerman's visit to the USA in the early 1970s put her in touch with the experimental cinema, Minimal Art, new American dance and performance art. The camera in »Hotel Monterey« and »News from Home« represents a variant on structural minimalism. Akerman's narrative film art presents a cinema of indifference. The relationship between spiritual contemplation and theatricality sustained in »Jeanne Dielmann«, »Je tu il elle« and »Les Rendez-vous d'Anna« indicates a desire to use performance as a means of experiencing the choice between turning one's face towards the scene or turning to the audience. Akerman's films do not just mess up an essential way of reading images by making them lurch constantly between categories that are meant symbolically and literally, but the films also undermine the concepts of type, figure and author, thus creating an inner turmoil in terms of representing the subject. [more]more

Text Sections
icon: heading Hyperrealismicon: heading Pop Art and Minimalismicon: heading Performance vs. Filmicon: heading Akerman’s Minimalismicon: heading Narrationsicon: heading Bresson as a Point of Referenceicon: heading Brecht vs. Bressonicon: heading Overflow and Overloadicon: heading The Role of the Texticon: heading Between Theater and Film