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
Oxford Art Journal – Oxford University Press
Published: Aug 1, 2017
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