[Commlist] Call for papers: The Bloomsbury Handbook to Chantal Akerman

Call for papers for *The Bloomsbury Handbook to Chantal Akerman*

**

The Bloomsbury Handbooks offer overviews that map a discipline, a 
writer, theorist or artist, see examples here: Handbook to Sophia 
Coppola 
<https://www.bloomsbury.com/uk/bloomsbury-handbook-to-sofia-coppola-9781350244306/> 
Handbook to Toni Morrison 
<https://www.bloomsbury.com/uk/bloomsbury-handbook-to-toni-morrison-9781350504905/>Handbook 
of Feminist Theory 
<https://www.bloomsbury.com/uk/bloomsbury-handbook-of-21stcentury-feminist-theory-9781350032408/>. 
The Handbooks are substantial, totalling around 200,000 words, with 
chapters around 8-10,000 words in length.

*The Bloomsbury Handbook to Chantal Akerman*offers the opportunity to 
gather together as scholars to assess, reflect upon and engage with the 
oeuvre of a filmmaker whose distinctive authorial personality, present 
from her very first short film /Saute ma ville/Blow up my town/ (1968), 
developed in some surprising ways across the next 17 years until her 
death in 2015 and final film /No Home Movie/.

For those who discovered Chantal Akerman’s work early on, the 
contradictions between how her 1970s films fit so well into emerging 
discussions of feminist film practice, while her bold originality elided 
categorization was evident (see Aubenas, 1981; interview with De Decker, 
1987). This breadth has formed the core of key edited collections 
(Foster, 1999; Schmid and Wilson, 2019) and monographs (Schmid, 2010) 
while engagements with Akerman’s form, aesthetics and politics have 
ensured her films remain fascinating to several generations of scholars. 
The contribution made by her work to feminist film theory forms the 
basis for multiple articles in /Camera Obscura /(Bergstrom, 1976; 
Akerman, 1977; Lebow, 2003; see also the special issue of Camera Obscura 
100, [White, 2019]), also drawing the attention of Laura Mulvey (1979; 
2016) B. Ruby Rich (1976) Griselda Pollock (2010) Jenny Chamarette 
(2013) Giuliana Bruno (2016) and Alison Butler (2019). Formal and 
aesthetic issues raised by her work, her long takes especially, were 
amply covered in Ivone Margulies’ insightful and influential book 
(1996), and continued by Corinne Rondeau (2017) and Michael Walsh (2022) 
among many others. Finally, the political nature of Chantal’s portrayals 
of those on the margins (see Dubroux, Giraud and Skorecki, 1977; Fowler 
1995 and De Kuyper, 2015), and specifically her engagement with her own 
Jewishness have been the subject of publications, installations and 
exhibitions (see Chantal Akerman, at Ambika P3 Gallery, London 2015).

Established and emerging scholars, critics and practitioners who have an 
interest in Chantal Akerman’s work are invited to send an abstract of 
250 words and a bio of 150 words to the editor: 
(Catherine.fowler /at/ otago.ac.nz) <mailto:(Catherine.fowler /at/ otago.ac.nz)>. 
Enquiries and questions are also welcome.

*Deadline for abstracts: Friday 29^th November*

Suggested topics may include, but are not limited to:

  * Chantal Akerman’s collaborators and how collaboration features
    in/influences/changes across her work
  * Chantal Akerman the writer, scriptwriting, the textual, the diaristic
  * Form, aesthetics and identity: telling different stories differently
  * Looking inwards and looking out: self and other
  * Chantal Akerman’s application to, engagement or dis-engagement with
    waves of feminism
  * Visual pleasure and the gaze
  * A Family Business: on fathers, mothers, daughters and sisters
  * Using Chantal Akerman’s work in the classroom – teaching with and
    through her films
  * Understanding film theory through Chantal Akerman
  * Chantal Akerman the teacher – reflections from her students
  * Chantal Akerman in/and France / Belgium / the US
  * On an ethical practice, others and otherness

*Akerman, Chantal*. 1977. 'Chantal Akerman on /Jeanne Dielman: /Excerpts 
from an Interview with /Camera Obscura/, November 1976', /Camera 
Obscura/, 2: 119-21.

*Aubenas, Jacqueline*. 1981. /Ateliers des Arts Cahier no 1: Chantal 
Akerman/ (Brussels).

*Bergstrom, Janet*. 1976. 'Jeanne Dielman, 23 quai du commerce, 1080 
Bruxelles by Chantal Akerman', /Camera Obscura/, 2: 114-18.

*Bruno, Giuliana*. 2016. 'passages through time and space: In memory of 
Chantal Akerman', /October/, 155: 162-67.

*Butler, Alison*. 2019. 'NOW and Then.' in, /Displacements: Reading 
Space and Time in Moving Image Installations/ (Springer nature: London).

*Chamarette, Jenny*. 2013. 'Between women: Gesture, intermediary and 
intersubjectivity in the installations of Agnès Varda and Chantal 
Akerman', /Studies in European Cinema/, 10: 45-57.

*de Decker, Jacques*. 1987. 'Je voudrais que mes films ne plaisent plus 
seulement aux critiques et aux cinephiles', /Le Soir [Brussels]/, 10 
Janvier.

*De Kuyper, Eric*, and Annie Van den Oever. 2015. 'Temps mort: Speaking 
about Chantal Akerman (1950-2015)', /NECSUS. European Journal of Media 
Studies/, 4: 3-12.

*Dubroux, Danièle, Thérèse Giraud and Louis Skorecki*. 1977. 'Entretien 
avec Chantal Akerman', /Cahiers du Cinema/, 278: 34-42.

*de Decker, Jacques*. 1987. 'Je voudrais que mes films ne plaisent plus 
seulement aux critiques et aux cinephiles', /Le Soir [Brussels]/, 10 
Janvier.

*Foster, Gwendoline Audrey*(ed.) 1999. /Identity and Memory: The Films 
of Chantal Akerman/ (Flicks Books: Wiltshire).

*Fowler, Catherine*. 1995. 'The films of Chantal Akerman: a cinema of 
displacements. [electronic resource]', University of Warwick. 
http://webcat.warwick.ac.uk/record=b1403827~S15 
<http://webcat.warwick.ac.uk/record=b1403827~S15>

*Lebow, Alisa*. 2003. 'Memory Once Removed: Indirect Memory and 
Transitive Autobiography in Chantal Akerman is Diest', /Camera Obscura/, 
18: 35-82.

*Margulies, Ivone*. 1996. /Nothing Happens: Chantal Akerman’s 
Hyperrealist Everyday/ (Duke University Press: Durham and London).

*Mulvey, Laura*. 1979. 'Guest Appearances: interview with Chantal 
Akerman', /Time Out/, 3: 19.

*Mulvey, Laura*. 2016. 'A neon sign, a soup tureen: the Jeanne Dielman 
Universe', /Film Quarterly/, 70: 25-31.

*Pollock, GFS*. 2010. 'The long journey: Maternal trauma, tears and 
kisses in a work by Chantal Akerman', /Studies in the Maternal/, 2: 1-32.

*Rich, B. Ruby*. 1976/2016. 'Chantal Akerman Interview, Chicago', /Film 
Quarterly/, 70: 16-24.

*Lebow, Alisa*. 2003. 'Memory Once Removed: Indirect Memory and 
Transitive Autobiography in Chantal Akerman’s D’est', /Camera Obscura/, 
18: 35-82.

*Rondeau, Corinne*. 2017. /Chantal Akerman passer la nuit/ (Éditions de 
l’éclat/éclats: Paris).

*Schmid, Marion*. 2010. /Chantal Akerman/ (Manchester University Press).

*Schmid, Marion*. 2019. 'Chantal Akerman: Filmmaker, Video Artist, 
Writer.' in Marion Schmid and Emma Wilson (eds.), /Chantal Akerman 
Afterlives/ (Legenda: Cambridge).

*Schmid, Marion and Wilson, Emma*. (eds.). 2019. /Chantal Akerman: 
Afterlives/ (Legenda: Cambridge).

*Walsh, Michael*. 2022. 'Chantal Akerman II: 35 Years on the Durational 
Plane.' in, /Durational Cinema - a short history of long films/ 
(Palgrave Macmillan: Cham).

*White, Patricia*(ed.) 2019. /On Chantal Akerman: Camera Obscura 100/.

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