Chapter 7. A Woman With A Movie Camera: Chantal Akerman’S Essay Films

Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. Notes On Contributors viii
5. Introduction Dialogue, Politics, Utopia 1
6. Part One: The Essay Film As Dialogue
7. Chapter 1. Essayism And Contemporary Film Narrative 15
8. Chapter 2. Essaying The Forms Of Popular Cinema: Godard, Farocki And The Principle Of Shot/Countershot 28
9. Chapter 3. The Practice Of Strangeness: L’Intrus, From Jean-Luc Nancy (2000) To Claire Denis (2004) 68
10. Chapter 4. Cinéma-Vérité And Kino-Pravda: Rouch, Vertov And The Essay Form 86
11. Part Two: The Essay Film As Politics
12. Chapter 5. Notes For A Revolution: Pasolini’S Postcolonial Essay Films 127
13. Chapter 6. Chris Marker’S Description Of A Struggle And The Limits Of The Essay Film 145
14. Chapter 7. A Woman With A Movie Camera: Chantal Akerman’S Essay Films 167
15. Chapter 8. ‘What Does It Mean Today To Be A Communist?’: Nanni Moretti’S Palombella Rossa And La Cosa As Essay Films 192
16. Part Three: The Essay Film As Utopia
17. Chapter 9. Mohamed Soueid’S Cinema Of Immanence 219
18. Chapter 10. Inside/Outside: Nicolasito Guillén Landrián’S Subversive Strategy In Coffea Arábiga 237
19. Chapter 11. American Essays In How To Build A Home: Thoreau, Mekas, Proenneke 256
20. Chapter 12. ‘To Speak, To Hold, To Live By The Image’: Notes In The Margins Of The New Videographic Tendency 275
21. Afterword. The Idea Of Essay Film 300
22. Index 306