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1981
Volume 14, Issue 2
  • ISSN: 2045-6298
  • E-ISSN: 2045-6301

Abstract

Review of: , curated by Laurence Rassel, Jeu de Paume, Paris, 28 September 2024–19 January 2025

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2025-11-11
2026-04-16

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References

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  2. Cerne, Adriana (2006), ‘Fragment(s) of an analysis: Chantal Akerman’s News from Home (or a mother–daughter tale of two cities)’, in G. Pollock (ed.), Psychoanalysis and the Image: Transdisciplinary Perspectives, Oxford: John Wiley & Sons, pp. 194222.
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  3. Documenta 11 (2002), From the Other Side by Chantal Akerman, Kassel, 8 June–15 September.
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  4. Flitterman-Lewis, Sandy (2003), ‘What’s behind her smile? Subjectivity and desire in Germaine Dulac’s The Smiling Madame Beudet and Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles’, in A. Gwendolyn (ed.), Identity and Memory: The Films of Chantal Akerman, Carbondale, IL: Southern Illinois University Press, pp. 2740.
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  6. Mekas, Jonas (1976), ‘Movie journal’, Soho Weekly News, 9 December, p. 36.
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  7. Mulvey, Laura (2016), ‘A neon sing, a soup tureen: The Jeanne Dielman universe’, Film Quarterly, 70:1, pp. 2531.
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  8. Rich, Ruby B. (1978), ‘The crisis of naming in feminist film criticism’, Jump Cut, 19, December, pp. 912.
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