{"id":90566,"date":"2015-10-06T09:01:03","date_gmt":"2015-10-06T13:01:03","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=90566"},"modified":"2015-10-07T16:28:56","modified_gmt":"2015-10-07T20:28:56","slug":"jeanne-dielman-forever-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/10\/06\/jeanne-dielman-forever-and-other-news\/","title":{"rendered":"<i>Jeanne Dielman<\/i> Forever, and Other News"},"content":{"rendered":"<div id=\"attachment_90567\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/jeanne_dielman.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-90567\" class=\"wp-image-90567\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/jeanne_dielman.jpg\" alt=\"\" width=\"600\" height=\"369\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/jeanne_dielman.jpg 624w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2015\/10\/jeanne_dielman-300x185.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-90567\" class=\"wp-caption-text\">A still from <i>Jeanne Dielman.<\/i><\/p><\/div>\n<ul>\n<li>The filmmaker Chantal Akerman, whose 1975 movie,\u00a0<em>Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles,\u00a0<\/em>is arguably \u201c<a href=\"http:\/\/www.theguardian.com\/film\/2015\/oct\/06\/chantal-akerman-pioneering-belgium-film-director-and-theorist-dies-aged-65\" target=\"_blank\">the first masterpiece of the feminine in the history of the cinema<\/a>,\u201d has died at sixty-five. \u201c<em>Jeanne Dielman<\/em> is a real-time study of a middle-aged widow who lives with her teenage son in a small Brussels flat. The film follows her as she completes drab domestic tasks and tries to make ends meet through occasional prostitution \u2026 The long, frank takes featured in <em>Jeanne Dielman<\/em> were a feature of Akerman\u2019s work.\u201d<\/li>\n<li>As a theater director, Bryan Doerries aims to revitalize the power of the medium: his company performs Greek tragedies at full-tilt for audiences at <em>schools<\/em>, <em>hospitals<\/em>,<em> prisons<\/em>,<em> and army bases<\/em>, and his goal is catharsis in the fullest sense of the word. \u201cTheater is able to do something that no other medium can achieve,\u201d he says. \u201cIt leads disparate audiences into a profound communion \u2026 We have lost touch, as a culture, with <a href=\"http:\/\/harpers.org\/blog\/2015\/10\/permission-to-speak-frankly\/\" target=\"_blank\">the importance of coming together and confronting what it means to be human as a\u00a0community<\/a>. Theater, and tragedy in particular, has the power to do this \u2026 Theater still has the power to create a sacred space, in which we are transported out of our quotidian reality and brought into contact with the transcendent, the heroic, the mythic, and with one another. We still hunger, I think, for this experience, as people, as a culture. And in some ways, because it\u2019s so rare, it\u2019s all the more overpowering and effective when we encounter it.\u201d<\/li>\n<li>Today in unlikely longevity: New Hampshire\u2019s <em><a href=\"http:\/\/www.nytimes.com\/2015\/10\/05\/business\/media\/at-80-yankee-magazine-is-thriving-as-an-avatar-of-new-england.html\" target=\"_blank\">Yankee <\/a><\/em><a href=\"http:\/\/www.nytimes.com\/2015\/10\/05\/business\/media\/at-80-yankee-magazine-is-thriving-as-an-avatar-of-new-england.html\" target=\"_blank\">magazine has been around since 1935, and it\u2019s navigated, somehow, many epochal changes in media<\/a>. What\u2019s its secret? Listen carefully: cover fall foliage as if it\u2019s Mardi Gras, never change, and appeal to a boring, affluent, aging readership. <em>Yankee<\/em> stands tall because of, not in spite of, its stupefying predictability: \u201cThere are tips on travel to destinations like Narragansett Bay, in Rhode Island, and recipes for Boston cream pie and needhams (an old-fashioned Maine candy made with mashed potatoes). Ads for regional businesses and New England wares still fill the magazine, which now comes out six times a year. The much loved Swopper\u2019s Column\u2014a classifieds page for unusual objects, which first appeared in the magazine\u2019s fourth issue\u2014was not discontinued until 2013.\u201d<\/li>\n<li>On Robert Zemeckis\u2019s <em>The Walk<\/em>, which has at its center a stunt that cinema has been waiting for a long time: \u201c<a href=\"http:\/\/www.nybooks.com\/blogs\/nyrblog\/2015\/oct\/01\/zemeckis-the-walk-cinematic-truth\/\" target=\"_blank\">Two twenty-first-century phenomena have changed the way moving pictures are made and perceived<\/a>. The first is the accelerating use of digital technology and the inexorable rise of a cyborg cinema that, by combining animated and photographic images, compromises the direct relationship to reality that had long been the medium\u2019s claim to truth. The second is the trauma of September 11, 2001, which for many provided the ultimate movie experience that was more than a movie\u2014spectacular destruction, broadcast live, and watched by an audience, more or less simultaneously, of billions.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>The filmmaker Chantal Akerman, whose 1975 movie,\u00a0Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles,\u00a0is arguably \u201cthe first masterpiece of the feminine in the history of the cinema,\u201d has died at sixty-five. \u201cJeanne Dielman is a real-time study of a middle-aged widow who lives with her teenage son in a small Brussels flat. The film follows [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[19652,15374,1225,80,19651,19654,12149,81,19653,44,17950,19650],"class_list":["post-90566","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-autumn","tag-bryan-doerries","tag-chantal-akerman","tag-cinema","tag-fall","tag-garth-risk-hallberg","tag-leaves","tag-movies","tag-robert-zemeckis","tag-theater","tag-tragedy","tag-yankee-magazine"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Feminist Filmmaker Chantal Akerman Has Died at Sixty-Five<\/title>\n<meta name=\"description\" content=\"This and more in today\u2019s roundup...\" \/>\n<meta name=\"robots\" content=\"index, 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