ABSTRACT The cellist Sonia Wieder-Atherton has collaborated with Chantal Akerman on her feature films, shorts, documentaries and installations. However, Wieder-Atherton’s influence on Akerman’s filmmaking, and her physical presence in the films themselves, have not been examined directly by scholars. This article will address this imbalance by outlining their collaborative project, before analysing Akerman’s short film Trois Strophes sur le nom de Sacher (1989), in which the cellist performs the eponymous composition by Henri Dutilleux. Through the inter-filmic presence of Alfred Hitchcock’s Rear Window (1954) and the allusions to Akerman’s Jeanne Dielman (1975), the author argues that the cellist’s intense rendering of Dutilleux’s score, marked by his use of scordatura, catalyses Akerman’s queer mistuning of Hitchcock’s classic. In doing so, her film produces a form of ambivalent spectatorship that embraces what the author is calling the ‘musically queer’. Her analysis draws on Tania Modleski’s critical swerve away from the male gaze in her study of Rear Window, and on Lee Edelman’s conceptualisation of Rear Window’s rumbling pulse of anal eroticism. The author will demonstrate how Akerman charges the ‘rear view’ backdrop of her film with an immersive sonic erotics that decentres the phallocentric scopic regime and fashions an acoustic space for queer spectatorial pleasures.

中文翻译：

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听起来很奇怪的合作行为：Chantal Akerman电影Sonia Wieder-Atherton

摘要大提琴演奏家Sonia Wieder-Atherton与Chantal Akerman合作拍摄了她的故事片，短裤，纪录片和装置。然而，学者们并没有直接研究维德·阿瑟顿对阿克曼电影创作的影响，以及她在电影中的实际存在。在分析阿克曼（Akerman）的短片《 Trois Strophes sur le nom de Sacher（1989）》（其中大提琴手由Henri Dutilleux创作同名作品）之前，本文将通过概述他们的合作项目来解决这种不平衡问题。通过阿尔弗雷德·希区柯克（Alfred Hitchcock）的《后窗》（1954）和对阿克曼（Akerman）的珍妮·迪尔曼（Jeanne Dielman）（1975）的电影间存在，作者认为大提琴演奏家对Dutilleux乐谱的强烈渲染（以他的手风琴演奏为标志）催化了阿克曼对希区柯克的奇怪迷惑。经典的。在这样做，她的电影产生了一种矛盾的观看形式，其中包含了作者所谓的“音乐怪异”。她的分析借鉴了塔妮娅·莫德莱斯基（Tania Modleski）在对后窗的研究中摆脱男性目光的批判性转向，以及李·爱德曼（Lee Edelman）对后窗隆隆的肛门色情性脉搏的概念化。作者将展示阿克曼如何通过沉浸式声波冲撞来使影片的“后视”背景充满活力，这种声冲消沉使阳茎镜面的镜体散开，并形成声学空间，为奇异的视觉享受带来愉悦感。