[Frameworks] Chantal Akerman died/reception

Fri Oct 9 13:34:15 UTC 2015

There are multiple methods to mask your "originating" IP Address in
order to watch US based streams. It is a tiny, lightweight and secure
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On Fri, Oct 9, 2015 at 2:24 AM, Jana Debus <info at janadebus.com> wrote:
> 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.hamlyn at talktalk.net wrote:
>
> Same problem with the Hollis Frampton DVDs. Quiet annoying.
>
> Nicky.
>
>
>
> -----Original Message-----
> From: Adam Hyman <adam at lafilmforum.org>
> To: Experimental Film Discussion List <frameworks at jonasmekasfilms.com>
> <frameworks at jonasmekasfilms.com>; JANA DEBUS <info at 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" <info at 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.mudie at 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-bounces at jonasmekasfilms.com> on behalf of Jana
> Debus <info at janadebus.com>
> Reply-To:  Experimental Film Discussion List
> <frameworks at jonasmekasfilms.com>
> Date:  Friday, 9 October 2015 1:12 pm
> To:  Experimental Film Discussion List <frameworks at jonasmekasfilms.com>,
> "nicky.hamlyn at talktalk.net" <nicky.hamlyn at 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.hamlyn at talktalk.net wrote:
>
> Only if you live in the USA,
>
> Nicky.
>
>
>
> -----Original Message-----
> From: Jana Debus <info at janadebus.com>
> To: Experimental Film Discussion List <frameworks at 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
>
>
>
> Jana
>
>
> On 08.10.2015, at 20:20, Elizabeth McMahon <elizmcmahon at 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 <chuckkle at 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 <atopia at 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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