ABSTRACT

This article sets out to review the films of Chantal Akerman, mainly those that she made in the 1970s and 1980s, observing how her filmmaking formulates a journey to and from the home against the background of the historical scene post 1968. Through a selection of examples, I will argue that the singularities of her filmmaking—the exploration of suspended time, the preference for a frontal gaze at the female body, or the inclination to autobiography, being the most noteworthy traits—have their basis in her critical observation of the life of women in social spaces, and also in a commitment to their emancipation through desire. Seen in perspective, the path that Akerman takes is one of unstable—though coherent—movement through the rejection of domesticity as the place from which the oppression of women originates, the flight from this (in other words, nomadism), and a search for other interiors that function as the opposite of the family home. These other interiors are empty and anonymous rooms where time and the rules that govern society are suspended, where Akerman herself, or other characters who are her alter ego, go from one corporeal state to another, carrying out the basic activities of the body, such as eating, sleeping or having sex.

摘要

本文着手回顾Chantal Akerman的电影，主要是她在1970年代和1980年代拍摄的电影，并观察她的电影制作如何在1968年后的历史舞台背景下制定往返家庭的旅程。 ，我会说，她的电影制作的独特之处-对悬吊时间的探索，对女性身体正面注视的偏爱或自传的倾向是最值得注意的特征-是她对人生进行批判性观察的基础妇女在社会空间中的地位，也致力于通过欲望实现她们的解放。从透视图上看，阿克曼走的路是不稳定的（尽管是连贯的）运动之一，因为拒绝家庭生活是妇女压迫的起源地，逃避这种生活（换句话说，是游牧主义），并寻找与家庭住所相反的其他内饰。这些其他内部空间是空荡荡的匿名房间，在那里，时间和统治社会的规则被暂停了，在这里，阿克曼本人或其他改变自我的角色，从一种肉体状态转变为另一种肉体状态，从而进行身体的基本活动，例如如吃饭，睡觉或做爱。