Only a few filmmakers change cinema as deeply as Akerman did. For that we should be grateful.
2015-10-06 16:26 GMT-04:00 Gene Youngblood <[email protected]>: > Unless I’m mistaken, the American premiere of Jeanne Dielmann was at > Filmex in 1976. That’s the Los Angeles International Film Exposition, which > was the largest festival in the world at that time except for Cannes, which > we considered to be a market, not a festival. I saw it twice, first on the > selection committee, then at the festival, where it impressed me even more > the second time. I met Chantal for lunch immediately after, somewhat > disoriented that such a reserved, shy little person could have made this > work of monumental intelligence and power. She was with Lloyd Cohn, whose > fledgling company, World Artists (I think that’s the name), was the > American distributor of the film. I met Lloyd ten years earlier when he was > doing publicity for Monte Hellman’s remarkable westerns, The Shooting and > Ride In the Whirlwind, which I reviewed in the Los Angeles Herald-Examiner. > The review attracted a considerable audience for the films (Cameron > Mitchell took out a full page ad in Variety to thank me and Jack Nicholson, > who wrote, co-produced and starred in both), and because of that Lloyd was > “loyal” to me over the years, which is how I ended up having lunch with him > and Chantal Akerman. Lloyd was a small person too, about the same height as > Chantal, and I remember feeling conspicuous, being more than a foot taller > than them, as we entered the restaurant. I don’t remember much of the > conversation except about Godard and Michael Snow, and how perceptive > Chantal’s observations were. (As an aside, I prefer her “One Day Pina > Asked…” over Wim Wenders’ piece on Bausch). I’m not sure about this, but I > think Lloyd Cohn distributed some of Chantal’s experimental shorts for a > brief period of time, and maybe The Meetings of Anna, and then I lost track > of him. I showed Jeanne Dielmann, The Meetings of Anna, Hotel Monterey, Je > tu il elle, and I’m Hungry I’m Cold in various classes every year for about > 20 years, first at Calarts, then the College of Santa Fe. There were always > lively discussions, and a handful of students invariably wrote term papers > on Jeanne Dielmann or Meetings of Anna or both. Chantal affected me as > profoundly as she did many others, maybe even a few of my students. By the > way, if anyone knows what Lloyd Cohn is doing these days, please contact me > off list. > > > On Oct 6, 2015, at 12:55 PM, Anderwald + Grond <[email protected]> > wrote: > > Chantal Akerman. 8 films now streaming online-some free, some to buy/rent > @indiewire: > http://www.indiewire.com/article/remembering-chantal-akerman-8-films-now-streaming-online-20151006?utm_campaign=Indiewire&utm_medium=social&utm_source=twitter&utm_content=1444152875 > > > ------------- > Ruth Anderwald + Leonhard Grond > > ++43 699 10984551 > Schüttelstr. 21/14 > 1020 Vienna > [email protected] > http://www.anderwald-grond.at > follow on twitter @anderwaldgrond <https://twitter.com/anderwaldgrond> > http://www.hasenherz.at > > http://www.on-dizziness.org > *When I came in I was confused, when I came out I was full of ideas.* Eilean > Hooper-Greenhills > *Dizziness-A Resource *FWF-PEEK AR-224 > > ------------- > Ruth Anderwald + Leonhard Grond > > ++43 699 10984551 > Schüttelstr. 21/14 > 1020 Vienna > [email protected] > http://www.anderwald-grond.at > follow on twitter @anderwaldgrond <https://twitter.com/anderwaldgrond> > http://www.hasenherz.at > > http://www.on-dizziness.org > *When I came in I was confused, when I came out I was full of ideas.* Eilean > Hooper-Greenhills > *Dizziness-A Resource *FWF-PEEK AR-224 > Am 06.10.2015 um 20:04 schrieb 40 Frames <[email protected]>: > > > Very sad news... Akerman's influence is immense, and her vision is one > that should be more widely celebrated and studied in film/art > programs across the US. Perhaps in some quarters her work is celebrated, > though the program I attended barely mentioned her name. > > It is also tragic that so much of Akerman's work remains difficult to find > viewing copies of. 40 some films and videos, and only a fraction > can be tracked down without much work. > > For years, I coveted a VHS copy of News From Home. Thankfully, Criterion > released Akerman in the Seventies. About once a year, I > watch my tired VHS copy of Akerman on Akerman (Cinéastes de notre temps), > in part to see clips from those difficult to locate films, but > also to see her opening introduction, spoken directly to the camera. > > Alain > > > > On Tue, Oct 6, 2015 at 6:52 AM, Chen Sheinberg <[email protected]> > wrote: > >> Chantal Akerman – one of my cinematic heroes of all times - died >> yesterday. >> >> R.I.P >> >> >> >> >> http://www.bfi.org.uk/news-opinion/news-bfi/features/chantal-akerman-has-died-aged-65 >> >> _______________________________________________ >> FrameWorks mailing list >> [email protected] >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> > > > -- > 40 FRAMES > Portland, Oregon USA > > +1 503 231 6548 > www.40frames.org > www.16mmdirectory.org > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
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