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Essay / Research Paper Abstract
This 9 page paper discusses the life and works of French film maker, Chantal Ackerman. Two of her works, Je, tu, il, Elle and The Eighties are discussed and compared, as well as shot synopsis offered. Overlying themes in her films are discussed as well as inovations she brought to the industry. Bibliography lists 2 sources.
Page Count:
9 pages (~225 words per page)
File: D0_MBackermn.rtf
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taken France by storm. Ambiguously forward in her use of cinematic effects and camera angles, notoriously able to come in under budget, and tending to redefine the term of independent
film, Chantal Ackerman is a cinematic force to be reckoned with. This directors works have been viewed for nearly thirty years in France, and are only now beginning to receive
limited success outside of Europe, it can be stated. Je, tu, il, Elle and Les Annees(The Eighties)are two of her representative films, each made in a different decade of the
filmographers development. These films will aid the student in a dissemination of who Ackerman is and the overall message that she tends to portray in her movies. Chantal Ackerman,
herself, is originally from Brussels. She was born in 1950, which would have meant that she was born shortly after the conclusion of World War II. Given that she is
of Polish Jewish descent, some of the Holocaust history has to be a part of her background(Margulies, 241). Perhaps it is this heritage that makes her seem to push so
hard to make her voice heard. Ackerman began creating films in the early seventies when feminism was beginning to take hold in Europe. This is primarily the aspect and
attitude which pervades most of her works, even today, it can be stated. This is because feminism was asking women to redefine themselves and was allowing them to do so.
Therefore, especially in Je, Tu, Il, Elle, the main character, Julie, is asking herself who she is. This journey takes her from being alone in her apartment, to a search
throughout Frances highways and byways, until finally she finds herself in the arms of a lover. What is particularly evident in Ackermans films is that instead of following the
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