Abstract
Belgian’s most renowned filmmaker, Chantal Akerman (1950-2015), had something with (urban) space. In the first half of her career (from 1968 up to the early 90s) two places are prominently present in Akerman’s films: Brussels and New York, albeit in very different ways. Birthplace Brussels seems to exist only as private interiors. On the other hand New York exists principally as a public exterior. I explore what the specific construction of narrative space – New York as ‘real’ and objective, Brussels as ‘fictional’ and subjective – tells us about Akerman’s ‘truth’.
Translated title of the contribution | Brussels - New York (not Paris). Space in Chantal Akerman's early films. |
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Original language | Dutch |
Pages (from-to) | f1-16 |
Number of pages | 16 |
Journal | Journal for Literary and Intermedial Crossings |
Volume | 2 |
Issue number | Fall 2018 |
Publication status | Published - 2018 |
Keywords
- Chantal Akerman
- space in film
- BRUSSELS
- New York
- Film studies