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Chantal Akerman was one of Europe's most acclaimed and prolific contemporary directors, who came to prominence with Jeanne Dielman, 23, quai du Commerce, and 1080 Bruxelles. Her family history is intimately bound up with the horrors of the Holocaust. Akerman was born in Brussels on 6 June 1950, the first child of Jewish Polish immigrants who settled in Belgium in the late 1930s. Filmmaking, for her, was an imaginative and creative engagement with the silence that weighed heavily on her childhood. Behind the multiple guises of Akerman, this book seeks to present a cinema that crystallises questions that are at the heart of our post-war, post-Holocaust, post-feminist sensibility. It identifies the characteristics of her avant-garde work of the 1970s, the period most closely influenced by American structuralist film and performance art. The book surveys her work in the following decade in the context of post-modernism, the new aesthetic of kitsch and the emergence of a new hedonism in Western critical discourses. It is dedicated to her documentary work of the 1990s and 2000s, which sheds light on the central ethical and aesthetic concerns behind her work. The book discusses her attempts to penetrate into the mainstream, her renewed engagement with the themes of love and desire, and her further exploration of the permeable boundaries between autobiography and fiction. What emerges forcefully in Akerman's cinema, is a persistent engagement with the forms and conditions of human existence.

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Anatomy of an avant-garde
Marion Schmid

diversified and distinguished career, that the director sets the parameters for her future work and develops the minimalist, hyper-realist style which is often cited as her trademark. This chapter will discuss her rich output in this period in the artistic and cultural contexts in which it emerged and against which it was subsequently assessed, most importantly experimental film, performance art and feminism. To understand Akerman’s early

in Chantal Akerman
Dr Jenny Barrett

tirelessly through his various projects for race equality in this country and the promotion of performance art. In this interview with Dr Jenny Barrett, which took place at the Liverpool symposium of the ‘Arts, Culture and Ethics in Black and White’ project in November 2015, Kunle talks about the issues that drive his work and his hopes for Black British artists and filmmakers in the centenary year of D. W

in D.W. Griffith’s The Birth of a Nation
UK artists’ film on television
A. L. Rees

Partridge, Ridley approached TV from a quite different angle, in a context of live and performance art rather than cinema, and above all of video rather than celluloid. Post-modern from the start, her Annalogue productions sidestepped film language to focus on the electronic image. This began a decade earlier with the Arena: Video Art Special programme (tx. 1976, BBC2), conceived by Ridley and produced by Mark Kidel. A survey of the field internationally, it featured Hall’s This is a Television Receiver, in which the newsreader Richard Baker recites a text about his own

in Experimental British television
Cinematic streaming and the digital happening in globalising London
Michael A. Unger
and
Keith B. Wagner

real time. ‘Happening’ refers to the traditional sense of performance art or an art event that encourages spontaneity and/or audience participation in the same physical space as an essential factor of its creation and reception. We include the word ‘digital’ in our terminology to indicate that the viewer witnesses the art event at the same time as its creation but in a different space through livestreaming. The term also connotes an exciting or unusual art event that occurs only once but can possibly go haywire, and in this

in Global London on screen
Sarah Atkinson
and
Helen W. Kennedy

about LV and its maverick founder reported that ‘Roy and his gang created an entire culture that's around us today in cabaret, performance art and music’. 26 Debs Armstrong, LV producer from 2002 to 2005, said ‘it was the breaking down audience/performer boundaries that had so much influence on SC, Shunt and Punchdrunk, and everything else that's out there now’. 27 When Gurvitz resigned from the festival in 2008, Armstrong was asked to programme the three fields of ‘the

in Secret Cinema and the immersive experience economy
Sarah Atkinson
and
Helen W. Kennedy

this more performance art and design installation practice to work with people. For example, [we worked] with mental health professionals to explore different symptoms or stories or historical things in different areas. Each room would tell a story or add to your understanding of the piece and its time. We had another ward that was dedicated to science. We worked with Guerrilla Science, who are an art/science crossover company and they helped us to be in touch with artists and scientists who were looking at the impact of the film in terms of

in Secret Cinema and the immersive experience economy
Romantic attractions and queer dilemmas (Queer as Folk)
Geraldine Harris

elitism and has manifested its own exclusions, becoming a minority discourse institutionalised within academic and performance/art contexts’ (Medhurst and Munt, 1997: xi). The genealogy of Queer theory is usually traced back to Foucault’s History of Sexuality (1979) and Derrida’s work on deconstruction, deployed in relation to Freudian and Lacanian psychoanalytical theory, and developed by thinkers such as Teresa de Lauretis, Eve Kosofsky Sedgwick and Leo Bersani. However, Queer theory at some point is nearly always linked to Judith Butler’s work on gender

in Beyond representation
Christine Cornea

academics and practitioners working in higher education were busy reconceptualising what was meant by acting and arguing for a more expansive approach to performance. Famously, for Richard Schechner ‘performance’ became a kind of umbrella term, covering not only ‘theatre, dance, music and performance art’, but also ‘a broad spectrum of activities including at the very least the performing arts, rituals, healing, sports, popular

in Genre and performance
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The multiple faces of Chantal Akerman
Marion Schmid

cinema, the minimalist music of Philip Glass as well as New American performance art and dance. Canadian director Michael Snow’s La Région centrale (1971), one of the masterpieces of experimental film-making which she first saw at the Anthology Film Archives, the newly opened New York showcase for avant-garde cinema, had a decisive impact on the development of her film aesthetic. Mangolte recalls that she and Akerman

in Chantal Akerman