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French Screen Studies Volume 20, 2020 - Issue 3-4: Special issue: Music in French Cinema
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Research Article

Sounding queer collaborative acts: Chantal Akerman films Sonia Wieder-Atherton

Albertine FoxDepartment of French, University of Bristol, Bristol, UKCorrespondence[email protected]
ORCID Iconhttps://orcid.org/0000-0001-8571-6005View further author information
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Pages 243-264 | Published online: 13 Dec 2019

Filmography

  • À l’Est avec Sonia Wieder-Atherton, 2009. C. Akerman, France.
  • Autour de “Jeanne Dielman”, 1975. S. Frey, France/Belgium.
  • Avec Sonia Wieder-Atherton, 2002. C. Akerman, France.
  • Chantal Akerman par Chantal Akerman, 1997. C. Akerman, France.
  • D’Est, 1993. C. Akerman, Belgium/France/Portugal.
  • De l’autre côté, 2002. C. Akerman, France/Belgium/Australia/Finland.
  • Demain on déménage, 2004. C. Akerman, France.
  • Golden Eighties, 1986. C. Akerman, France/Belgium.
  • Histoires d’Amérique : Food, Family and Philosophy, 1988. C. Akerman, Belgium/France/USA.
  • Je tu il elle, 1974. C. Akerman, Belgium/France.
  • Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles, 1975. C. Akerman, Belgium.
  • La Captive, 2000. C. Akerman, France/Belgium.
  • Les Années 80, 1983. C. Akerman, France/Belgium.
  • Letters Home, 1986. C. Akerman, France.
  • Nuit et jour, 1991. C. Akerman, France/Belgium/Switzerland.
  • Portrait d’une jeune fille de la fin des années 60 à Bruxelles, 1993. C. Akerman, France. Made for the French television series Tous les garçons et les filles de leur âge.
  • Portrait d’une paresseuse, 1986. C. Akerman, France, Germany. Segment of Seven Women, Seven Sins, made for German television.
  • Rear Window, 1954. A. Hitchcock, USA.
  • Rue Mallet-Stevens, 1986. C. Akerman, France.
  • Saute ma ville, 1968. C. Akerman, Belgium.
  • Trois Strophes sur le nom de Sacher, 1989. C. Akerman, France.
  • Un divan à New York, 1996. C. Akerman, France/Germany/Belgium.
  • Un jour Pina a demandé, 1983. C. Akerman, France.

Multimedia works

  • D’Est en musique, 2005. S. Wieder-Atherton, with images from D’Est (C. Akerman), France.
  • D’Est : au bord de la fiction, 1995. C. Akerman, video installation in two parts, based on D’Est (C. Akerman).
  • Maniac Shadows, 2013. C. Akerman, two-room installation, 3 channel video triptych/96 photographs/soundtrack.
  • Marcher à côté de ses lacets dans un frigidaire vide, 2004. C. Akerman, video installation in two parts.

References

  • Adams, S. 2010. “Interview with Chantal Akerman.” The A.V. Club, January 28. Accessed 5 July 2019. https://film.avclub.com/chantal-akerman-1798218996
  • Akerman, C. 2011. “Liner Notes.” Chantal Akerman Filme Sonia Wieder-Atherton. DVD. Translated and edited by Alan Fell. Paris: Naïve  Records.
  • Biddle, I. 2013. “Quiet Sounds and Intimate Listening: The Politics of Tiny Seductions.” In Sound, Music, Affect: Theorizing Sonic Experience, edited by M. Thompson and I. Biddle, 205–222. London: Bloomsbury Academic.
  • Cobussen, M., and N. Nielsen. 2012. Music and Ethics. London: Routledge.
  • Duchen, J. 2011. “The Cellist Who Loves Chazanut.” The Jewish Chronicle, March 10. Accessed 30 June 2019. https://www.thejc.com/culture/music/the-cellist-who-loves-chazanut-1.21762
  • Edelman, L. 1999. “Rear Window’s Glasshole.” In Out Takes: Essays on Queer Theory and Film, edited by E. Hanson, 72–96. Durham: Duke University Press.
  • Fawell, J. 2001. Hitchcock’s Rear Window: The Well-Made Film. Carbondale: Southern Illinois University Press.
  • Gottlieb, S. 2017. “The Therapeutic Power of Music in Hitchcock’s Films.” In Partners in Suspense: Critical Essays on Bernard Herrmann and Alfred Hitchcock, edited by S. Rawle and K. J. Donnelly, 50–61. Manchester: Manchester University Press.
  • Hitchcock, A. [1968] 1972. “Rear Window.” In Focus on Hitchcock, edited by A. J. LaValley, 40–46. Reprint. Englewood Cliffs: Prentice-Hall.
  • LaBelle, B. 2014. Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary. New York: Bloomsbury Academic.
  • Lambert, M. 2015. I Don’t Belong Anywhere: Le cinéma de Chantal Akerman. DVD. Belgium.
  • Lebow, A. S. 2008. First Person Jewish. Minneapolis: University of Minnesota Press.
  • Marguiles, I. 1996. Nothing Happens: Chantal Akerman’s Hyperrealist Everyday. Durham: Duke University Press.
  • Merle, F. 1984. Letters Home. Paris: Théâtre de Paris. November 20.
  • Modleski, T. [1988] 1989. The Women Who Knew Too Much: Hitchcock and Feminist Theory. New York: Routledge.
  • Murray, R. 2016. “The Radical Politics of Possibility: Towards a Queer Existential Phenomenology through Chantal Akerman’s Je tu il elle.” Feral Feminisms 5 (Spring): 44–55.
  • Percival, S. 2019. “Chantal? A Dialogue with Sonia Wieder-Atherton.” Camera Obscura 34 (1 [100]): 197–217. doi:10.1215/02705346-7264208.
  • Pollock, G. 2010. “The Long Journey: Maternal Trauma, Tears and Kisses in a Work by Chantal Akerman.” Studies in the Maternal 2 (1): 1–32. doi:10.16995/sim.82.
  • Pollock, G. 2013. After-Affects/After-Images: Trauma and Aesthetic Transformation in the Virtual Feminist Museum. Manchester: Manchester University Press.
  • Proust, M. 1923. La Prisonnière. Paris: Gallimard.
  • Ruby Rich, B. 2013. New Queer Cinema: The Director’s Cut. Durham: Duke University Press.
  • Schmid, M. 2014. “The Cinema Films Back: Colonialism, Alterity and Resistance in Chantal Akerman’s La Folie Almayer.” Australian Journal of French Studies 51 (1): 22–34. doi:10.3828/AJFS.2014.3.
  • Sedgwick, E. K. 1993. Tendencies. Durham: Duke University Press.
  • Voegelin, S. 2017. “Sound Words and Sonic Fictions: Writing the Ephemeral.” In The Routledge Companion to Sounding Art, edited by M. Cobussen, V. Meelberg, and B. Truax, 61–69. London: Routledge.
  • White, P. 2008. “Lesbian Minor Cinema.” Screen 49 (4): 410–425. doi:10.1093/screen/hjn057.
  • Wieder-Atherton, S. 2016. “Sonia Wieder-Atherton: Chantal Akerman et Dutilleux.” Dutilleux. Accessed 18 June 2019. http://www.dutilleux2016.com/sonia-wieder-atherton/

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