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.mu...@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-boun...@jonasmekasfilms.com > <mailto:frameworks-boun...@jonasmekasfilms.com>> on behalf of Jana Debus > <i...@janadebus.com <mailto:i...@janadebus.com>> > Reply-To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com > <mailto:frameworks@jonasmekasfilms.com>> > Date: Friday, 9 October 2015 1:12 pm > To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com > <mailto:frameworks@jonasmekasfilms.com>>, "nicky.ham...@talktalk.net > <mailto:nicky.ham...@talktalk.net>" <nicky.ham...@talktalk.net > <mailto:nicky.ham...@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 > <http://www.hulu.com/search?q=chantal+akerman> > > > >> On 08.10.2015, at 22:09, nicky.ham...@talktalk.net >> <mailto:nicky.ham...@talktalk.net> wrote: >> >> Only if you live in the USA, >> >> Nicky. >> >> >> >> -----Original Message----- >> From: Jana Debus <i...@janadebus.com <mailto:i...@janadebus.com>> >> To: Experimental Film Discussion List <frameworks@jonasmekasfilms.com >> <mailto:frameworks@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 >> <https://www.criterion.com/explore/151-chantal-akerman> >> >> >> >> Jana >> >> >>> On 08.10.2015, at 20:20, Elizabeth McMahon <elizmcma...@gmail.com >>> <mailto:elizmcma...@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 <chuck...@northwestern.edu >>> <mailto:chuck...@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 <ato...@comcast.net >>>> <mailto:ato...@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 >>>> >>>> >>>> >>>> >>>> >>>> _______________________________________________ >>>> FrameWorks mailing list >>>> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com> >>>> https://mailman-mail5.webfaction.com/listinfo/frameworks >>>> <https://mailman-mail5.webfaction.com/listinfo/frameworks> >>>> >>> >>> >>> >>> -- >>> Elizabeth >>> _______________________________________________ >>> FrameWorks mailing list >>> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com> >>> https://mailman-mail5.webfaction.com/listinfo/frameworks >>> <https://mailman-mail5.webfaction.com/listinfo/frameworks> >> >> _______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com >> <mailto:FrameWorks@jonasmekasfilms.com>https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> <https://mailman-mail5.webfaction.com/listinfo/frameworks>_______________________________________________ >> FrameWorks mailing list >> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com> >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > _______________________________________________ > FrameWorks mailing list > FrameWorks@jonasmekasfilms.com > https://mailman-mail5.webfaction.com/listinfo/frameworks
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