Criterion is a US company that mostly licenses films only for US home video distribution, and internet streaming. However, it is more likely than not that they don¹t have the rights to make it available for streaming to people outside the United States. Those rights would be held whatever company distributes her films in each country in question.
On 10/8/15 10:21 PM, "Jana Debus" <i...@janadebus.com> wrote: > I am sorry to hear that! > I wonder whether Criterion could do something about that > maybe worth it contacting them tomorrow. > I¹ll try. > > Jana > > > >> On 08.10.2015, at 22:18, Peter Mudie <peter.mu...@uwa.edu.au> wrote: >> >> Yep, they can only be viewed in the U.S. (which is a bit tough on everyone in >> Belgium, or anywhere else for that matter). >> Peter >> >> >> From: FrameWorks <frameworks-boun...@jonasmekasfilms.com> on behalf of Jana >> Debus <i...@janadebus.com> >> Reply-To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> >> Date: Friday, 9 October 2015 1:12 pm >> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com>, >> "nicky.ham...@talktalk.net" <nicky.ham...@talktalk.net> >> Subject: Re: [Frameworks] Chantal Akerman died/reception >> >> oh, shame, did you try the other link, I sent? >> >> http://www.hulu.com/search?q=chantal+akerman >> >> >> >>> On 08.10.2015, at 22:09, nicky.ham...@talktalk.net wrote: >>> >>> Only if you live in the USA, >>> >>> Nicky. >>> >>> >>> >>> -----Original Message----- >>> From: Jana Debus <i...@janadebus.com> >>> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> >>> Sent: Fri, 9 Oct 2015 5:14 >>> Subject: Re: [Frameworks] Chantal Akerman died/reception >>> >>> Dear All, >>> >>> >>> Criterion has made Chantal Akerman¹s films available online, >>> you can watch them for free at this time of mourning, >>> and be close to her, through her work. >>> >>> And, have you ever heard her reading ³A family in brussels²? >>> it¹s beautiful, she was such a gifted writer, too. >>> It¹s on CD. >>> >>> >>> https://www.criterion.com/explore/151-chantal-akerman >>> >>> >>> >>> Jana >>> >>> >>>> On 08.10.2015, at 20:20, Elizabeth McMahon <elizmcma...@gmail.com> wrote: >>>> >>>> I cannot speak for Film maker's Cooperative or Canyon, but The New York >>>> Public Library has a 16mm print of "Jeanne Dielman" for those who are close >>>> by, or otherwise interested in seeing it on film. It was distributed at the >>>> time of acquisition by New Yorker, so it did indeed have a stateside >>>> distributor, and one with quite a distinguished reputation. If you are >>>> interested in screening it on site, please call ahead to arrange the time. >>>> >>>> Elizabeth McMahon >>>> >>>> On Thu, Oct 8, 2015 at 9:41 PM, Chuck Kleinhans <chuck...@northwestern.edu> >>>> wrote: >>>>> I appreciate Gene Youngblood¹s observations. I would point out in >>>>> addition some of the decisions Akerman made which shaped the reception of >>>>> her work. >>>>> >>>>> First, and I think incredibly importantly, was her choice of Babette >>>>> Mongolte to be her cinematographer on Jeanne Dielman. Mongolte had >>>>> already done the camerawork on Rainer¹s Lives of Performers and Film About >>>>> a Woman Who. Seeing those works as connected by visual sensibility gives >>>>> the works at least a second ³authorship² in the cinematographer. >>>>> >>>>> Second, Jeanne Dielman arrived in 1975-6. It was screened at some film >>>>> centers and then the print left the country. Yeet during its brief >>>>> appearance it inspired almost all the emerging feminist film makers, >>>>> critics, scholars, teachers, and intellectuals to rave about it. And the >>>>> writers wrote about it with a strong femiist analysis >>>>> >>>>> I think this was due to at least two factors, One was that feminist film >>>>> criticism was looking for new work that escaped the Hollywood >>>>> expectations. Remember this is the exact moment when Laura Mulvey¹s >>>>> landmark essay on "Visual Pleasure and Narrative CInema" hit the scene. >>>>> Jeanne Dielman was the perfect film to see after or before reading >>>>> Mulvey.. This was also the time of emerging feminist film festivals, >>>>> feminist film courses in colleges and universities, feminist film >>>>> programming being a regular part of film center programming, etc. >>>>> >>>>> Second, there was at that time a certain momentum in the women¹s movement >>>>> for thinking anew about housework and domestic space. In the UK one high >>>>> profile group of feminists led a campaign for ³Wages for >>>>> Housework²demanding recognition of women¹s unpaid labor. In N. America >>>>> there was an active discussion of the ³double day² and women working >>>>> outside the home but also then being totally responsible for domestic >>>>> chores, cleaning, child-rearing, etc. So within the political wing of the >>>>> women¹s movement there was interest in this and Jeanne Dielman, although >>>>> in one sense one of the ³least likely² films to appeal to feminist >>>>> activists unfamiliar with art film narrative in fact when they did get to >>>>> see the film found it often intriguing and made them rethink what feminist >>>>> film might be. >>>>> >>>>> But, as I said, that rare print disappeared from N. America and Akermann >>>>> essentially rejected the genuine enthusiastic audience for her film and >>>>> wasn¹t interested in having it placed with some logical upstart feminist >>>>> film distributors nor was she willing to deposit a copy with the NY Coop >>>>> or Canyon, which would have at least kept it alive for those who wanted to >>>>> show it. I never heard the story from her side of why she made this >>>>> decision. The gossip I heard was that she had a very high opinion of >>>>> herself and wanted to be treated as a Major European Film Artist like >>>>> Wenders or Fassbinder. She was holding out for Big Time art film >>>>> distribution in N. America. And that never happened. >>>>> >>>>> There¹s an excellent (if kind of lopsided by her enthusiasms) presentation >>>>> of that Ackerman moment in Ruby Rich¹s book Chick Flicks: Theories and >>>>> Memories of the Feminist Film Movement. >>>>> >>>>> The point being that artists have some role to play in their own >>>>> reputation/success and some decisions end up shaping their critical >>>>> horizon and artistic capital. >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> On Oct 6, 2015, at 1:26 PM, Gene Youngblood <ato...@comcast.net> wrote: >>>>> >>>>>> Unless I¹m mistaken, the American premiere of Jeanne Dielmann was at >>>>>> Filmex in 1976. That¹s 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 >>>>>> that¹s the name), was the American distributor of the film. I met Lloyd >>>>>> ten years earlier when he was doing publicity for Monte Hellman¹s >>>>>> 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 ³loyal² 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 don¹t remember much of the >>>>>> conversation except about Godard and Michael Snow, and how perceptive >>>>>> Chantal¹s observations were. (As an aside, I prefer her ³One Day Pina >>>>>> Asked² over Wim Wenders¹ piece on Bausch). I¹m not sure about this, but >>>>>> I think Lloyd Cohn distributed some of Chantal¹s 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 I¹m Hungry I¹m 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. >>>>>> >>>>>> >>>>> >>>>> Chuck Kleinhans >>>>> >>>>> >>>>> >>>>> >>>>> >>>>> _______________________________________________ >>>>> FrameWorks mailing list >>>>> FrameWorks@jonasmekasfilms.com >>>>> https://mailman-mail5.webfaction.com/listinfo/frameworks >>>>> >>>> >>>>
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