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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: âHitchcock, The Enunciator.â 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.
Camera Obscura – Duke University Press
Published: Jun 1, 1979
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