* This essay is a revised version of a talk presented at “Images Between Images: The Films of Chantal Akerman” in December 2005 at Princeton University. I wish to thank Kaira Marie Cabañas, who organized this symposium in con- junction with an exhibition of Chantal Akerman’s 25ème écran at the Princeton University Art Museum. My thanks as well to the Cinémathèque Suisse in Lausanne, which generously provided access to its research materials on Chantal Akerman. Finally I want to acknowledge the substantive advice of both Margaret Olin and Janet Jenkins. 1 Mark Nash, “Art and Cinema: Some Critical Re ﬂ ections,” in Documenta 11_Platform 5: Exhibition Catalogue (Kassel: Hatje Cantz, 2002), p. 136. 2 Ibid., pp. 136, 135. Abstract Bruce Jenkins’ essay examines the critical and theoretical grounds for artist and ﬁ lmmaker Chantal Akerman’s interventions both within the cinema and within the space of the gallery. The curatorial perspec- tive posed by Documenta 11 and its focus on “diasporic consciousness” forms the basis for examining Akerman’s work through the lens of her experience as the daughter of Holocaust survivors—displaced Polish Jews who ended up in Belgium. Part of what she has called the generation for which the
Images – Brill
Published: Jan 1, 2007
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