Nothing happens : Chantal Akerman's hyperrealist everyday

Acknowledgments ixChantal Akerman's Films: The Politics of the Singular 11. Nothing Happens: Time for the Everyday in Postwar Realist Cinema 21Charting the Everyday in Postwar Europe 24A Realism of Surfaces: Bazin and Neorealist Film 27From Surface to Structure: Barthes, Godard, and the Textualization of Reality 33Beyond Cinematic Postivism: The Antirescue Cinema of Andy Warhol 362. Toward a Corporeal Cinema: Theatricality in the '70s 42The United States in Real Time: Minimal, Hyperreal, and Structural 48Quotation Reconsidered: European "Theatrical" Cinema 543. The Equivalence of Events: Jeanne DIelman, 23 Quai du Commerce, 1080 Bruxelles 65Excess Description: Robbe-Grillet and Cinematic Hyperrealism 69Bracketing Drama: The Other Scene 73The Murder, and, and, and . . . : An Aesthetics of Homogeneity 80The Automaton: Agency and Causality in Jeanne Dielman 884. Expanding the "I": Character in Experimental Feminist Narrative 100The Lure of Center in Rainer's Work: A Cautionary Tale 104The Eroded Index: Liminality in Je tu il elle 109An Alogical, Fitful, Evidence 112"Here Is": Redundant Description 118A Mock Centrality: An A-individual Singularity 1215. "Her" and Jeanne Dielman: Type as Commerce 128For Example, "Her": Godard and the "Natural" Sign 131Jeanne Dielman: An Exceptional Typicality 1406. Forms of Address: Epistolary Performance, Monologue, and Bla Bla Bla 149Epistolary Performance: News from Home 150Talk Blocks: Meetings with Anna 154Postscript: The Man with the Suitcase and A Filmmaker's Letter 161What is Wrong with Signing? A Filmmaker's Letter 1667. The Rhythm of Cliché: Akerman into the '90s 171Eight Times "Oui": Singularity in Toute une nuit 173Night and Day and Night: The Cycle Revisited 182So Let's Sing: The Eighties and Window Shopping 185Echoes from the East: Histoires D'Amérique and D'est 192To Conclude: It Is Time 204Filmography 213Notes 215Bibliography 247Index 263