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.
Through the author’s invocation of the figure Jugoslovenka (Yugoslav woman), this book reveals feminist performance politics in art and culture to be central to socialist Yugoslavia and traces that feminist legacy to the contemporary post-socialist era. The Socialist Federal Republic of Yugoslavia (1945–1992) provides one of the most intriguing examples of women’s emancipatory power during twentieth-century socialism. The most politically West-leaning of all the socialist countries during the Cold War, Yugoslavia became a place where women enjoyed extraordinary legal rights and social mobility, including access to education and labor mobility. The book tells this remarkable story of women’s emancipation during socialism, and also highlights its importance during and after the Yugoslav wars in the 1990s. Theorizing the concept of Jugoslovenka as the radical embodiment of Yugoslavia’s antifascist, transnational, and feminist legacies, this book offers analyses of celebrated and lesser-known artists from the 1970s until today, including the now legendary performance artist Marina Abramović, along with stories of female snipers, music legends Lepa Brena and Esma Redžepova, and contemporary feminist artists forced to live in the Yugoslav diaspora during/after the wars. Based on archival work, interviews, and in-depth visual analyses, this book tells the unique story of Yugoslav women’s resistance through the intersection of feminism, socialism, and patriarchy in visual culture. Discussing multiple media, such as war photographs, music videos, samizdat publications, performance and conceptual art, along with traditional paintings and film, the book will serve as an invaluable resource for researchers of women’s cultural work in the region.
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, performanceart and feminism. To understand Akerman’s early
Socialist nation, Orientalism, and Yugoslav legacy
Three of the most significant celebrities to come out of the Federation of Yugoslavia during its last decades were women who were prominent within the field of culture: in the sphere of avant-garde visual and performanceart, artist Marina Abramović; and as performers and businesspeople in the popular music sphere, singers Lepa Brena and Esma Redžepova. All three women were “firsts” in their fields, achieving breakthroughs previously unattainable for women within the Yugoslav context. While Abramović changed the history of performanceart in
sexually charged performance works that confronted and exposed the roots of patriarchal violence in the Yugoslav state and its dangerous vitality in the nationalist rhetoric of Yugoslavia as a whole and in its republics.
Women continued to be marginalized as they had been in the 1970s, despite their extensive and generative resistance work in the alternative scenes throughout the 1980s. This chapter hones in on women's explorations of their gender power in music, avant-garde art circles, and performanceart. Focusing on performance, video, and
This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.
Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity. This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.
, alongside Guggi 1067 and Dave-id Busaras 1068 , he was curating a provocative and artful freak show.
Friday and the band’s performanceart and wonderfully weird, dislocated music was an
eclectic electric shock. They were like the Diamond Dogs from Bowie’s mid-’70s
sci-fi dystopia running amok in the post-punk playground of a late ‘70s Dublin,
defying its claustrophobic and repressed atmosphere that they would be the key catalyst in
Dublin was very repressed. There was lots of
The unique position of Yugoslav women during and after socialism
production—avant-garde art, magazines, underground queer music, pop music, and performanceart—seeks to add a new perspective to these histories of Yugoslavia. I do so by conjoining the impact of works indispensable to art history with remarkable elements of popular visual culture to reveal how gender and sexuality wove the political paradigm of socialism into the emancipatory politics of Yugoslav women. Consequently, my book foregrounds the significance of feminist performance by privileging Yugoslav women as central interlocutors between socialist (Eastern) and
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 performanceart’, but also
‘a broad spectrum of activities including at the very least the
performing arts, rituals, healing, sports, popular