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, [email protected] wrote: > > Same problem with the Hollis Frampton DVDs. Quiet annoying. > > Nicky. > > > > -----Original Message----- > From: Adam Hyman <[email protected]> > To: Experimental Film Discussion List <[email protected]> > <[email protected]>; JANA DEBUS <[email protected]> > 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" <[email protected] > <mailto:[email protected]>> 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 <[email protected] > <mailto:[email protected]>> 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 <[email protected] > <mailto:[email protected]>> on behalf of Jana Debus > <[email protected] <mailto:[email protected]>> > Reply-To: Experimental Film Discussion List <[email protected] > <mailto:[email protected]>> > Date: Friday, 9 October 2015 1:12 pm > To: Experimental Film Discussion List <[email protected] > <mailto:[email protected]>>, "[email protected] > <mailto:[email protected]>" <[email protected] > <mailto:[email protected]>> > 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, [email protected] > <mailto:[email protected]> wrote: > > Only if you live in the USA, > > Nicky. > > > > -----Original Message----- > From: Jana Debus <[email protected] <mailto:[email protected]>> > To: Experimental Film Discussion List <[email protected] > <mailto:[email protected]>> > 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 <[email protected] > <mailto:[email protected]>> 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 <[email protected] > <mailto:[email protected]>> 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 <[email protected] > <mailto:[email protected]>> 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 > > > > > > _______________________________________________ > FrameWorks mailing list > [email protected] <mailto:[email protected]> > https://mailman-mail5.webfaction.com/listinfo/frameworks > <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > > > > _______________________________________________ > FrameWorks mailing list > [email protected] <mailto:[email protected]> > https://mailman-mail5.webfaction.com/listinfo/frameworks > <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
