Well, the most wonderful thing would be for all of her films to be projected 
and for all of us to gather for the occasion.
I guess Brussels would be the perfect place. (I am far away from Brussels 
now…in San Francisco, and feel even further away during this sad time.)

I hope it will be done, and for everyone to make an effort to be there.

Jana



> On 08.10.2015, at 23:17, nicky.ham...@talktalk.net wrote:
> 
> Same problem with the Hollis Frampton DVDs. Quiet annoying.
> 
> Nicky.
> 
> 
> 
> -----Original Message-----
> From: Adam Hyman <a...@lafilmforum.org>
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com> 
> <frameworks@jonasmekasfilms.com>; JANA DEBUS <i...@janadebus.com>
> Sent: Fri, 9 Oct 2015 6:36
> Subject: Re: [Frameworks] Chantal Akerman died/reception
> 
> 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 don’t 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 
> <mailto: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.
> I’ll try.
> 
> Jana
> 
> 
> 
> On 08.10.2015, at 22:18, Peter Mudie <peter.mu...@uwa.edu.au 
> <mailto: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 
> <mailto:frameworks-boun...@jonasmekasfilms.com>> on behalf of Jana Debus 
> <i...@janadebus.com <mailto:i...@janadebus.com>>
> Reply-To:  Experimental Film Discussion List <frameworks@jonasmekasfilms.com 
> <mailto:frameworks@jonasmekasfilms.com>>
> Date:  Friday, 9 October 2015 1:12 pm
> To:  Experimental Film Discussion List <frameworks@jonasmekasfilms.com 
> <mailto:frameworks@jonasmekasfilms.com>>, "nicky.ham...@talktalk.net 
> <mailto:nicky.ham...@talktalk.net>" <nicky.ham...@talktalk.net 
> <mailto: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 
> <http://www.hulu.com/search?q=chantal+akerman>
> 
> 
> 
> On 08.10.2015, at 22:09, nicky.ham...@talktalk.net 
> <mailto:nicky.ham...@talktalk.net> wrote:
> 
> Only if you live in the USA,
> 
> Nicky.
>  
>  
>  
> -----Original Message-----
> From: Jana Debus <i...@janadebus.com <mailto:i...@janadebus.com>>
> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com 
> <mailto:frameworks@jonasmekasfilms.com>>
> Sent: Fri, 9 Oct 2015 5:14
> Subject: Re: [Frameworks] Chantal Akerman died/reception
> 
> Dear All,
> 
> 
> Criterion has made Chantal Akerman’s 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 “A family in brussels”?
> it’s beautiful, she was such a gifted writer, too.
> It’s on CD.
> 
> 
> https://www.criterion.com/explore/151-chantal-akerman 
> <https://www.criterion.com/explore/151-chantal-akerman>
> 
> 
> 
> Jana
> 
> 
> On 08.10.2015, at 20:20, Elizabeth McMahon <elizmcma...@gmail.com 
> <mailto: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 
> <mailto:chuck...@northwestern.edu>> wrote:
> I appreciate Gene Youngblood’s 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 Rainer’s Lives of Performers and Film About a Woman Who.  
> Seeing those works as connected by visual sensibility gives the works at 
> least a second “authorship” 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 Mulvey’s 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 women’s movement for 
> thinking anew about housework and domestic space.  In the UK one high profile 
> group of feminists led a campaign for “Wages for Housework”—demanding 
> recognition of women’s unpaid labor.  In N. America there was an active 
> discussion of the “double day” 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 women’s movement there was interest 
> in this and Jeanne Dielman, although in one sense one of the “least likely” 
> 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 
> wasn’t 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.
> 
> There’s an excellent (if kind of lopsided by her enthusiasms) presentation of 
> that Ackerman moment in Ruby Rich’s 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 
> <mailto:ato...@comcast.net>> wrote:
> 
> 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. 
> 
> 
> 
> Chuck Kleinhans
> 
> 
> 
> 
> 
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