December, 2015

Carolee. Carolee. Carolee…

Raw meat, live sex and snakes: the dangerous art of Carolee Schneemann

Look, I know The Guardian ain’t Texte Zur Kunst, I’m just happy to see her get the press.

Fuses (still), (1964-67) 16mm film

Fuses (still), (1964-67) 16mm film

Late Chrysanthemums

Sighed and yearned in equal measure, at Mikio Naruse’s Late Chrysanthemums yesterday. It’s research, because there’s a film I’m trying to make, and so far failing to make, which involves the impossibility of the Western mind every really getting to grips with what the **** a Geisha is. This film isn’t really about that culture. Instead it’s about of the lot of the older woman in Tokyo, post WWII. I’m feeling it.

Late Chrysanthemums, 1954

Sisters are doin’ it for themselves – Late Chrysanthemums, 1954

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Celine and Julie Go Boating

The inspiration for Susan Seidelman’s Desperately Seeking SusanJacques Rivette‘s Celine and Julie Go Boating (1977) has it all: Witchcraft, sandals, ghosts and magic sweeties. Boating here translates as taking a trip, en francais s’il vous plait. But at 3 hrs and 13 mins, best bring along yer ain sweeties…

Watch the trailer here.celine-and-julie images-1 images tumblr_mlaxteZvae1qztstdo1_1280

Ben Wheatley

Oh when will you finish High-rise Ben? Early reviews were worrying, but I know it’ll be ok in the end.

In the mean time, I’ll be re-watching genre melting Kill List and the peerless A Field in England. Amy Jump’s writing is simply breathtaking.

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Muriel Spark

And I’ll be having a break from Muriel for a while – if you’re to read just one, make it The Public Image. To be continued…

LoiteringWithIntent Memento_Mori_(novel)_coverart PublicImage Jeanbrodie DriversSeat Peckhamrye AidingAndAbetting

Eric Rohmer – A summer comes to an end… now

Finally, I have teased out the sun bleached, 80’s styled Rohmer box set as far as I can. Bring on the winter.

Full Moon in Paris (1984)

Full Moon in Paris (1984)

The Green Ray (1986)

The Green Ray (1986)


Videophone film teaser

Watch it here.

Safety in the workplace.

Safety in the workplace.

Chantal Akerman 1950-2015 on Film Studies for Free

Chantal Akerman

Chantal Akerman

Chantal Akerman

Film Studies For Free

NO HOME MOVIE: In Warm Memory of Chantal Akerman (1950-2015)Posted: 06 Oct 2015 07:21 AM PDT

Akerman’s search for images that represent nothing, and mean nothing else (except perhaps themselves – and even this is difficult enough) while she focuses her camera on observing the minutiae of women’s lives, is expressed in the first instance by her style: distant, clean, sober, looking at the image outside of the image. Rootless, detached images. Images in the Diaspora. Is it possible to return home, to where the image can exist, outside of the commandment? Is such an image even possible? (Dana Linssen on Akerman’s filmmaking)

Despite their apparent simplicity, Akerman’s assured framing and narrative, built out of blocks of real time intercut by radical ellipses, are not easily replicated. Rather, the film’s impact is indirectly evident in the emergence of a new phenomenological sensibility and approach to observation and the weight of time… (Ivonne Margulies on Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles)

Unbelievable, unbearable news, but just confirmed by Libération.

Chantal Akerman has died.

Links to online, freely accessible studies of her work and to tributes to it will continue to be added below in the next days (as they will, undoubtedly, at KeyFrame Daily | Fandor, and elswehere). It’s the only way that Film Studies For Free can process this news…. Incroyable….

By / With Chantal Akerman

Studies of Akerman’s work

Tributes to Akerman

BERLIN: Testimony of a City by Andy Moore and Ian Magor
Using Chantal Akerman’s News from Home [1977] here the city of Berlin is the stage for another journey through another city. Reflective and reversing timelines encourage the visual to interact with the spoken testimony.
The portrayal of desire on the cinema screen is necessarily problematic. Too often it is an assertion of masculine power, sometimes an idealised notion of romance, rarely the reality of sagging mattresses and aching muscles. Chantal Akerman’s Je, tu, il, elle is set alongside two typical Hollywood portrayals of sexual passion.
The personal and the public. Private letters and open spaces. Home, exile. Chantal Akerman’s News From Home is often torn between personal introspection and visual ethnography. Here, its slow composure is put in to conversation with the chaos of Godfrey Reggio’s Koyaanisqatsi. Whilst the former tackles the personal and transcends towards the universal, the latter uses the universal to invoke a self-observating experience. If Koyaanisqatsi signals a life out of balance, News From Home tries to rectify that balance – in pace, in space and in the everyday. – Jessica McGoff
Belgian director Chantal Akerman gained world success with her masterpiece Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles (1975) and consolidated her reputation with films like Toute une NuitLes années 80 and Le Marteau. In the early nineties Akerman shifted her career from strictly film into the arts. She participated, amongst other exhibitions, at dOCUMENTA 10 and 11. It dated from 1995 since Akerman exhibited in her native country with a massive retrospective. In Too Far, Too Close the M HKA presented an overview from Akermans oeuvre starting with the 1968 production Saute ma Ville and ending with her most recent work, Maniac Summer.

The first-person essays boom

Top editors on why confessional writing matters…



Did I really miss out on an October post?

It’s not like I’ve not been doing anything. Really.

I’m researching and writing for a new film – about miscommunication, the screen and squishy, squishy eyes. Here’s a production shot for you. By 2016 it’ll be ready to go…