Chantal Akerman

Edited by Marion Schmid and Emma Wilson

Moving Image 9


23 April 2019  •  184pp

ISBN: 978-1-781886-39-7 (hardback)  •  RRP £75, $99, €85

ISBN: 978-1-781886-40-3 (paperback, 2020)  •  RRP £9.99, $12.50, €12.50

ISBN: 978-1-781886-41-0 (JSTOR ebook)

Access online: Books@JSTOR


Chantal Akerman was one of the most significant directors of our times. A radical innovator of cinematic forms, she was at the forefront of feminist and women’s filmmaking. In the 1990s, she developed an important installation practice and began to experiment with self-writing.

Focusing on Akerman’s works of the last two decades, a period during which she diversified her creative practice, this collection traces her artistic trajectory across different media. From her documentaries ‘bordering on fiction’ to her final installation, NOW, the volume elucidates the thematic and aesthetic concerns of the later works, placing particular emphasis on self-portraiture, the exploration of intimacy, and the treatment of trauma, memory and exile. It also attends to the aural and visual textures that underpin her art. Drawing on a wide range of theoretical approaches as well as engaging more creatively with Akerman’s work, the essays provide a new optic for understanding this deeply personal, prescient oeuvre.

Marion Schmid is Professor of French Literature and Film at the University of Edinburgh. Emma Wilson is Professor of French Literature and the Visual Arts at the University of Cambridge.


  • ‘What I like in Schmid and Wilson’s book is the breadth of content it offers. It is not a book about the “usual” subjects we speak about in the context of Akerman’s cinema. There is work on the director’s installations; there is work on, yes, ageing and smoking; there is work on what Albertine Fox calls “vocal landscapes”; and there is also work on Akerman’s use of light in Cyril Béghin’s excellent chapter Light out of Joint.’ — Nadin Mai, The Art(s) of Slow Cinema 5 July 2019
  • ‘Afterlives is an array of incredibly rich, beautiful, creative, and often deeply emotional responses to filmmaker, writer and artist Chantal Akerman's later works, looking with much needed detail attention to the final two decades of Akerman's creative output.’ — Ros Murray, Modern and Contemporary France 28.1, 2019, 175-76 (full text online)
  • ‘Together these essays resonate as similar tropes, films, and installations recur in new configurations. It is a testament to the artist, and to the editors, that new thought continues to illuminate Akerman’s oeuvre.’ — Ivone Margulies, H-France 20, May 2018, no. 66


Marion Schmid, Emma Wilson
In Memory of Chantal Akerman: Passages through Time and Space
Giuliana Bruno
A Tree in the Wind: Chantal Akerman’s Later Self-Portraits in Installation and Film
Sandy Flitterman-Lewis
Moeder, Maman, Mom
Carol Mavor
Smokescreens: Notes on Cigarettes in Chantal Akerman
Alice Blackhurst
Ageless: Akerman’s Avatars
Jenny Chamarette
Real Estates: The Comedy of Spaces and Things in Chantal Akerman’s Demain on déménage
Hilde D’haeyere, Steven Jacobs
Diaries, Thresholds and Gazes as Anamnesis in Chantal Akerman’s Cinema
Anat Zanger
Unknown deaths in La Captive
Emma Wilson
Texas (is not Paris) is Burning: The Drag of Dis/Orientation in Chantal Akerman’s Sud
So Mayer
Vocal Landscapes: Framing Mutable Stories in De l’autre côté (2002) and Une voix dans le désert (2002)
Albertine Fox
‘Like a Musical Piece’: Akerman and Musicality
Adam Roberts
Light out of Joint
Cyril Béghin
Chantal Akerman: Filmmaker, Video Artist, Writer
Marion Schmid

Bibliography entry:

Schmid, Marion, and Emma Wilson (eds), Chantal Akerman: Afterlives, Moving Image, 9 (Cambridge: Legenda, 2019)

First footnote reference: 35 Chantal Akerman: Afterlives, ed. by Marion Schmid and Emma Wilson, Moving Image, 9 (Cambridge: Legenda, 2019), p. 21.

Subsequent footnote reference: 37 Schmid and Wilson, p. 47.

(To see how these citations were worked out, follow this link.)

Bibliography entry:

Schmid, Marion, and Emma Wilson (eds). 2019. Chantal Akerman: Afterlives, Moving Image, 9 (Cambridge: Legenda)

Example citation: ‘A quotation occurring on page 21 of this work’ (Schmid and Wilson 2019: 21).

Example footnote reference: 35 Schmid and Wilson 2019: 21.

(To see how these citations were worked out, follow this link.)

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