WFTHN – UK/Ireland members may be interested in the event below.

Dr Shelley Cobb, Associate Professor
Film and English, Humanities
University of Southampton
http://www.southampton.ac.uk/film/about/staff/sc1p07.page

Adaptation, Authorship, and Contemporary Women Filmmakers, by Shelley Cobb
http://www.palgrave.com/page/detail/adaptation-authorship-and-contemporary-women-filmmakers-shelley-cobb/?K=9780230283848

First Comes Love: Power Couples, Celebrity Kinship, and Cultural Politics, eds. Shelley Cobb and Neil Ewen
http://www.bloomsbury.com/uk/first-comes-love-9781628921205/


From: A Nos Amours <[log in to unmask]<mailto:[log in to unmask]>>
Reply-To: A Nos Amours <[log in to unmask]<mailto:[log in to unmask]>>
Date: Sunday, 19 April 2015 14:43
To: Shelley Cobb <[log in to unmask]<mailto:[log in to unmask]>>
Subject: {Disarmed} This Thursday: A Nos Amours screening of Chantal Akerman's sorrowing Sud (South), a study of race hatred in the Deep South


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continuing the complete Chantal Akerman retrospective

Akerman 19:
Chantal Akerman par Chantal Akerman (1997)
& Sud (1999)
Thursday 23rd April 2015, 6.40pm ICA cinema
tickets here<http://anosamours.us5.list-manage.com/track/click?u=f60be4b81267fae37ffda37f5&id=df515ff09b&e=a5744971eb>

with an introduction by Dr Muriel Temple

[https://gallery.mailchimp.com/f60be4b81267fae37ffda37f5/images/50329430-e49f-4738-9d7f-bb263e4f54c6.jpg]

Chantal Akerman par Chantal Akerman
(Chantal Akerman on Chantal Akerman)

Rarely screened, this is Akerman's self-authoured summation of  her work to date.

Commissioned as part of the legendary series of film essays, Cinéma, de notre temps, curated by Janine Bazin and André Labarthe. They offered Akerman a commission to make a portrait of a film-maker. She chose, in keeping with her frequent practice to date, to make a study of herself as film-maker. Why not? She had turned film-making back on itself, and discovered a feminised and ‘other’ sensibility, another way of seeing the world and self. And she had performed in her own work a number of times.

Akerman delivers a monologue about her work and thinking, followed by a montage of carefully selected clips from her back catalogue- from·Jeanne Dielman,·Saute ma Ville,·Hotel Monterrey,·Histoires d'Amerique,·Toute une nuit,·Portrait d'une jeune fille de la fin des années 60 à Bruxelles,·Les années 80 and so on.

Fascinating insights are offered, such as that Akerman's maternal grandmother painted large canvases, in which women timelessly, calmly looked out at the viewer. Not one canvas survived, the Holocaust saw to that, but word and concept passed from mother to daughter and on to grand-daughter, and found life in Akerman's film work.

Akerman closes with a bald statement of fact, without any of the usual biographical and interpretaive adornments of a film portrait: "I was born in Brussels, that’s the truth." She places the work first and herself last.

dir. Chantal Akerman, 1996, 63 mins, English subtitles.


[https://gallery.mailchimp.com/f60be4b81267fae37ffda37f5/images/b55db9e6-9d93-4cab-92de-3a6720d25178.jpg]

Sud
(South)

Inspired, Ackerman has said, by a love of the literature of William Faulkner and James Baldwin, this was to be a film meditation on the American South, modeled we may guess on her earlier documentary study of the Eastern bloc as Soviet era closed D’est. But, just as she began work, a black man named James Byrd Jr. was murdered in Jasper, Texas. He was savagely beaten by three white men, chained to their truck, and dragged three miles through a black neighbourhood.

Akerman’s approach is not to offer direct, investigative news reportage. Instead, the community and locale of Jasper, the context for the crime, is scrutinised. Patient interviews reveal the people and their attitudes. The landscape is studied.

And then the film moves on to Byrd's funeral: a ceremony of deep anguished feeling.

The deep south, with its living culture of race hate, is laid bare.

This is a film that finds an alternative to the forensic methodology of Capote's·In Cold Blood. This is a film that evokes a terrain, the folds of a psychological condition, the cold heart of white supremacism and the extraordinary nobility of the black community under attack.

Perhaps it is Akerman’s sense of exclusion, stemming from her family’s experience of the Holocaust, that enables her to look and see so plainly, so clearly.

Akerman has written:
"How does the southern silence become so heavy and so menacing so suddenly? How do the trees and the whole natural environment evoke so intensely death, blood, and the weight of history? How does the present call up the past? And how does this past, with a mere gesture or a simple regard, haunt and torment you as you wander along an empty cotton field, or a dusty country road?"

dir. Chantal Akerman, 1999, 71 mins


This retrospective is possible due to the financial support of the British Film Institute, Wallonie-Bruxelles International and Film Hub London (managed by Film London). Many thanks to those orgnisations.

---

Inspiring Eric Rohmer (1920 - 2010) /
Pierre Carlet de Chamblain de Marivaux
(1688 – 1763)

A reading of part of Marivaux's play Careless Vows (Les serments indiscrets, in a fine translation by John Walters, courtesy of Methuen), with a consideration of Marivaux's formative influence on Eric Rohmer.

Listen on line at Resonance104.4FM here<http://anosamours.us5.list-manage.com/track/click?u=f60be4b81267fae37ffda37f5&id=4f3fffec8e&e=a5744971eb>
Originally transmitted on Wednesday March 11th 2015


A Nos Amours is a collective founded by film-makers Joanna Hogg and Adam Roberts dedicated to programming over-looked, under-exposed or especially potent cinema. A Nos Amours is a moveable feast that goes wherever and whenever opportunities arise. A Nos Amours invites film-makers and others to advocate and present films that they admire or would like to see on a big screen. A Nos Amours  believes in the value of watching film as a shared experience.

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