Spaces. Exploring Spatial Experiences of Representation and Reception in Screen Media

L'article de Sarah Leperchey : « Akerman and Domestic Space » (pp. 81-104)

https://doi.org/10.2307/jj.11895527.10

Chantal Akerman’s work is characterized by great heterogeneity. Her films of the very early 1970s – La chambre (1972), Hotel Monterey (1973) – were heavily influenced by the American avant-garde and were part of the experimental cinema movement (Margulies 1996, 3; Schmid 2010, 4-6). That said, Akerman soon turned to fiction, directing Je tu il elle (1974) and Jeanne Dielman, 23 quai du commerce, 1080 Bruxelles (1975). As Marion Schmid (2010, 33) notes, Jeanne Dielman is situated at the crossroads of structural aesthetics and European auteur cinema. With this film, Akerman invented a very singular form of modern cinema, which...