Chantal Akerman discusses the work of IMA MFA and Art MFA students.
March 5th MONDAY (Lang Recital Hall, 1:00-4:00pm) Chantal Akerman, international filmmaker and artist will meet with a group of select students from various disciplines—Film, Women’s studies, French, Art and Creative Writing- to discuss her aesthetics, her creative process from script writing, to making fiction features, documentaries and installation work.
Ivone Margulies (Film and Media Dept), Akerman scholar and author of Nothing Happens: Chantal Akerman’s Hyperrealist Everyday, and Joe McElhaney (Film and Media) and author of The Death of Classical Cinema: Lang, Minelli and Visconti will introduce and guide the class consisting of excerpts of the various films.
Special thanks to Prof. Gustavo Mercado; Support for Chantal Akerman Masterclass was provided by the Hunter College Arts Across the Curriculum Pilot Initiative, created through a grant from the Andrew W. Mellon Foundation.
March 6th TUESDAY
Screening of News from Home (1976) introduced by Julio Grinblatt (MFA ’10, Adjunct Assistant Professor of Art, Hunter College and co-curator of Notations: The Cage Effect Today.) and with Q&A with Ivone Margulies (Film and Media, author of Nothing Happens: Chantal Akerman’s Hyperrealist Everyday)—part of the Notations: Cage Effect Today Hunter College exhibition. Open to the public.
March 9th FRIDAY
Renowned international filmmaker Chantal Akerman will present a screening of The Captive (2000) her free adaptation of Marcel Proust’s The Prisoner.
A Q&A will follow with Profs. Ivone Margulies (author of Nothing Happens: Chantal Akerman’s Hyperrealist Everyday/ Film and Media) and Constance Dejong (media artist/ Art). Lang Recital Hall, Hunter North 424, from 6:00-9:30pm. Open to the public.
Sponsored by the School of Arts and Science and the Film and Media Program.
Chantal Akerman is a border-crossing artist, who has moved from long duration films to restless musicals and comedies, from fiction to documentary and time based art installations. Akerman’s masterpiece, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), a mesmerizing study on time and domestic anxiety is considered a pivotal art film of the seventies. Her nomadic sensibility, her humor, her musical writing are apparent in a remarkably formally and ethically rigorous body of work. Her work has inspired multiple new filmmakers and has been featured in innumerable full retrospectives, just recently at the Vienale and at Muhka. Almayer’s Folly ( loosely based on Conrad’s Almayer’s Folly, 2011) was shown in the Venice, Toronto and Rio de Janeiro festivals and premiered at the Museum of Moving Image in January, and in Paris in February. It is part of the Film comment Selects series at Walter Reade Cinema.