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The Color of Jeanne Dielman

The Color of Jeanne Dielman plant. Otherwise, when Jeanne Dielman emerges into the outside world an exuberance of color seems to burst onto the screen-particularly in the yarn department scene, the corner grocery scene, the button shop, and the multi-colored lights of the nighttime street. This break in the ruling color system only gives a greater impact to her reabsorption through color into the background from the moment that she enters the downstairs hall of her apartment building. Much has been written about how the duration of the shots, the static camera, the hyper-realist acting of Delphine Seyrig, and the drawn-out repetitions of routine tasks are the techniques that Akerman uses to inscribe Jeanne Dielman and her world. Less noticed but equally powerful in producing this Jeanne Dielman is the carefully calculated color system that firmly immures her in her setting. NOTES 1. See Raymond Bellour: “Hitchcock, The Enunciator.” Camera Obscural;!,p. 69. 2. The poster prepared for the commercial release of this film makes the same point, but with only one color. It shows Jeanne Dielman impassively seated at the dining room table, with figure and background washed in an overall blue. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Camera Obscura Duke University Press

The Color of Jeanne Dielman

Camera Obscura , Volume 1-2 (3-1 3-4) – Jun 1, 1979

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Publisher
Duke University Press
Copyright
Copyright 1979 by Camera Obscura
ISSN
1529-1510
eISSN
1529-1510
DOI
10.1215/02705346-1-2-3-1_3-4-216
Publisher site
See Article on Publisher Site

Abstract

plant. Otherwise, when Jeanne Dielman emerges into the outside world an exuberance of color seems to burst onto the screen-particularly in the yarn department scene, the corner grocery scene, the button shop, and the multi-colored lights of the nighttime street. This break in the ruling color system only gives a greater impact to her reabsorption through color into the background from the moment that she enters the downstairs hall of her apartment building. Much has been written about how the duration of the shots, the static camera, the hyper-realist acting of Delphine Seyrig, and the drawn-out repetitions of routine tasks are the techniques that Akerman uses to inscribe Jeanne Dielman and her world. Less noticed but equally powerful in producing this Jeanne Dielman is the carefully calculated color system that firmly immures her in her setting. NOTES 1. See Raymond Bellour: “Hitchcock, The Enunciator.” Camera Obscural;!,p. 69. 2. The poster prepared for the commercial release of this film makes the same point, but with only one color. It shows Jeanne Dielman impassively seated at the dining room table, with figure and background washed in an overall blue.

Journal

Camera ObscuraDuke University Press

Published: Jun 1, 1979

There are no references for this article.