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Chantal Akerman was one of Europe's most acclaimed and prolific contemporary directors, who came to prominence with
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
performance art struggling for its own identity, especially in the first years of sound film, and, for many theorists, the anti-cinema par excellence. ‘Pas d’épousailles du théâtre et du cinématographe’, wrote Robert Bresson in his journal of the 1950s, ‘sans extermination des deux’ 1 (Bresson 1975 : 21); but Bresson’s theatre is a pasteboard affair, an easy scapegoat for a frozen, actorly style of cinema
Bland uncovers how fanzines became an integral part of the industrial culture that emerged parallel (and often overlapped) with punk from the mid-1970s. Often drawn from avant garde performance art and cultural theories designed to challenge, deconstruct and demystify the forces of ‘control’ (media, government, religion, language, ritual) that shape ‘reality’, industrial bands such as Throbbing Gristle and zines such as Stabmental committed to recovering lost knowledge and disseminating information. Lastly in this section, Pete Dale returns to punk’s DIY ethos to
Film Culture (Flicks Books, 1997), p. 11. 4 Stuart Laing, Representations of Working-Class Life: 1957–1964 (Macmillan, 1986), p. 113. 5 John Ellis, ‘Cinema as performance art’, in Justine Ashby and Andrew Higson (eds), British
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
stems chiefly from the band’s own independent record label: Industrial Records. Officially ‘activated’ on 3 September 1975 (a date specifically chosen to match the anniversary of Britain’s entry into the Second World War), this Hackney-based quartet evolved out of the controversial performance art collective COUM Transmissions.5 TG’s most prominent early performance, in fact, took place at the Institute of Contemporary Arts during COUM’s Prostitution exhibition in October 1976. The moral panic created by this event – and specifically its overwhelming focus on
Experimentalisms in Practice: Music Perspectives from Latin America , edited by Ana R. Alonso-Minutti et al., 189–226 . Oxford : Oxford University Press , 2018 . Bustamante , Maris . ‘ Conditions, Roads, Genealogies of Mexican Conceptualisms, 1921–1993 ’. In Arte ≠ Vida: Actions by Artists of the Americas 1960–2000 , edited by Deborah Cullen , 134–51 . New York : El Museo del Barrio , 2008 . —— . ‘ Non-Objective Arts in Mexico, 1963–83 ’. In Corpus Delicti: Performance Art of the Americas , edited by Coco Fusco , 225–39 . New York
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
participation of both producer and consumer in the creation of meaning, as for example in its tendency to embrace the ‘happening’ or ‘performance’ as its privileged form. We can identify another link to the pornographic here, which references more clearly than most other cultural codes the real presence of the performer (which is exactly what is meant by the term ‘performance’ in ‘performance art’: on this, see Williams 2001 ), and