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791.43 --- Motion pictures --- -#SBIB:033.AANKOOP --- #SBIB:309H1320 --- #SBIB:309H1313 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Filmkunst. Films. Cinema --- De filmische boodschap: algemene werken (met inbegrip van algemeen filmhistorische werken en filmhistorische werken per land) --- Geschiedenis en/of organisatie van het filmwezen: algemeen en per land (met inbegrip van de rol van het filmwezen in de ontwikkelingsproblematiek) --- History and criticism --- 791.43 Filmkunst. Films. Cinema --- #SBIB:033.AANKOOP --- film --- filmgeschiedenis --- filmproductie --- filmtheorie

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"Chantal Akerman's 1975 film Jeanne Dielman portrays in excruciating detail and in real time the daily life of a single mother, as she cooks, cleans and cares for her son, and has sex with male clients in her home. Akerman, who shot the film in five weeks with an all-female crew, described Jeanne Dielman as a challenge to 'a hierarchy of images' that places a car accident or a kiss 'higher in the hierarchy than washing up ... And it's not by accident, but relates to the place of woman in the social hierarchy ... Woman's work comes out of oppression and whatever comes out of oppression is more interesting.' Yet Jeanne Dielman's importance is broader and more sustained than the originality of its subject matter and form. More than any other film before or since, it reminds the viewer that we give our time to a film; and in making us look both harder and for longer it asks us to feel time slipping away, for its protagonist as much as for ourselves. Catherine Fowler's study of the film articulates the fascination of Jeanne Dielman over and above its place as an exemplary film to watch and study. She provides a close textual analysis of performance, particularly that of Delphine Seyrig as the title character, mise-en-scène, narrative structure, camerawork and editing, and draws on original footage, interviews and documents to explore the making of the film. She interrogates its unique representation of domestic space and the materiality of women's time. In doing so, she illuminates why the film is seen as a significant precursor for what came to be known as 'Slow Cinema' and why it continues to exact such significance in film history today"--

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (Motion picture) --- Akerman, Chantal --- film --- filmgeschiedenis --- filmtheorie --- filmregisseurs --- twintigste eeuw --- België --- Akerman Chantal --- 791.471 AKERMAN

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Country life in motion pictures. --- Motion pictures

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This collection departs from the observation that online forms of communication - the email, blog, text message, tweet - are actually haunted by old epistolary forms: the letter and the diary. By examining the omnipresence of writing across a variety of media, the collection adds the category of Epistolary Screens to genres of self-expression, both literary (letters, diaries, auto-biographies) and screenic (romance dramas, intercultural cinema, essay films, artists' videos and online media).

Expression (Philosophy) --- Communication in mass media. --- Communication in motion pictures. --- Letters in motion pictures. --- Motion pictures --- Mass media --- Self-expression --- Philosophy --- Epistolary forms, genres of self-expression, visual/textual. --- Mass media and nationalism. --- Political aspects.

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