On Absence and Saturation in Chantal Akerman’s De l’autre côté (From the Other Side)

On Absence and Saturation in Chantal Akerman’s De l’autre côté (From the Other Side) On Absenceam and Saturation iny Chantal Akerman’s De l’autre coˆte´ (From the Other Side) orth Amy Charlesworth On Absence and Saturation in Chantal Akerman’s De l’autre coˆte´ (From the Other Side) Amy Charlesworth A group of men and women sit around the restaurant table. All but one avoid 1. Marion Schmid, Chantal Akerman (Manchester: Manchester University Press, 2010), p. 117. the camera’s gaze (Fig. 1). The camera, set to include the group within the frame, records the central figure as he steadily unfolds a piece of paper and 2. One could cite a number of reasons for this, such as its relation to reportage. The lack of an reads a statement on behalf of the group. The reading is marked by a steely in-depth analysis might also be the result of the resilience, a sense of the unjust, and a plea for fairness. Incongruously, over the film’s release after two significant book-length reader’s right shoulder stands an artificial tree, dressed in tired-looking studies on Akerman, Margulies (1996) and Christmas decorations. Its presence fixes us in a moment, a specific time of Identity and Memory: The Films of Chantal Akerman, ed. Gwendolyn Audrey Foster (1999). However, year, but as the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oxford Art Journal Oxford University Press

On Absence and Saturation in Chantal Akerman’s De l’autre côté (From the Other Side)

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Publisher
Oxford University Press
Copyright
© The Author 2017. Published by Oxford University Press; all rights reserved
ISSN
0142-6540
eISSN
1741-7287
D.O.I.
10.1093/oxartj/kcx026
Publisher site
See Article on Publisher Site

Abstract

On Absenceam and Saturation iny Chantal Akerman’s De l’autre coˆte´ (From the Other Side) orth Amy Charlesworth On Absence and Saturation in Chantal Akerman’s De l’autre coˆte´ (From the Other Side) Amy Charlesworth A group of men and women sit around the restaurant table. All but one avoid 1. Marion Schmid, Chantal Akerman (Manchester: Manchester University Press, 2010), p. 117. the camera’s gaze (Fig. 1). The camera, set to include the group within the frame, records the central figure as he steadily unfolds a piece of paper and 2. One could cite a number of reasons for this, such as its relation to reportage. The lack of an reads a statement on behalf of the group. The reading is marked by a steely in-depth analysis might also be the result of the resilience, a sense of the unjust, and a plea for fairness. Incongruously, over the film’s release after two significant book-length reader’s right shoulder stands an artificial tree, dressed in tired-looking studies on Akerman, Margulies (1996) and Christmas decorations. Its presence fixes us in a moment, a specific time of Identity and Memory: The Films of Chantal Akerman, ed. Gwendolyn Audrey Foster (1999). However, year, but as the

Journal

Oxford Art JournalOxford University Press

Published: Aug 1, 2017

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