Noise and de-Subjectivation in Chantal Akerman’s Cinema
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Keywords

Akerman
Deleuze
Inhuman
Plane of immanence
third meaning
the time image
the movement image
concept
flat ontology
tool-being

How to Cite

Vyazovskaya, V. (2020). Noise and de-Subjectivation in Chantal Akerman’s Cinema. Galactica Media: Journal of Media Studies, 2(1), 52-70. https://doi.org/10.46539/gmd.v2i1.95

Abstract

In this article, the author investigates the possibility of conceptualizing the anthropological body of the person as a moving, dissolving in the environment of inhuman materiality. Using Chantal Ackerman's "Je, tu, il, elle", "Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles", the author explores how specific elements of the cinematic production of reality interact with each other and produce concepts. The purpose of this article is to clarify the specific aspects of this cinema, such as work of images, built through montage, special attention is given to the sound that organizes the "speech" of the object. The author of the article demonstrates, based on the Deleuze’s position on cinematography as a reality and cinema as thinking, Ackerman's organization of heroes through de-subjection responds to the demand for flatness - the destruction of the hierarchy between the human and the inhuman by organizing one emergent whole. Researching the creation of the concepts of Deleuze and the third meaning of Barthes, the author analyzes the film. This research made it possible to see how, through noise and de-subjectivation, Akermans's lined up poses come together in assemblages, where each element serves as a producer of change as a whole, creating a reality of direct access and mutual influence. This article is intended for philosophers, those who work with cultural studies and everyone interested in the theory of cinema.

https://doi.org/10.46539/gmd.v2i1.95
pdf (Русский)

References

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