Camerawork as Motherwork
Bibliographic Data
| ID | 15030670 |
|---|---|
| Authors | Lori J Marso (0000-0001-9990-4613, corresponding author), Lori Marso |
| Year | 2021 |
| Volume | 24 |
| Issue | 3 |
| Pages | 730-757 |
| Publication date | 2021-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Theory & Event (JOURNAL) |
| Journal identifiers | ISSN: 1092-311X • E-ISSN: 2572-6633 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/tae.2021.0041 |
| OpenAlex | W3183684842 |
| Language | EN |
| Citations received | 1 |
In Jeanne Dielman (1975), From the Other Side (2002) and No Home Movie (2015), Belgian/French filmmaker Chantal Akerman's camera does motherwork by creating spaces where spectators are invited to encounter, hold, and work through discomforting feelings, memories, and fantasies. Roland Barthes's photographic search for his mother in Camera Lucida and feminist thinking on motherwork and fabulation in the Black radical tradition inform my reading of Akerman's cinematic techniques and narratives wherein new practices of mothering, motherwork, and care might be experienced and imagined
Aesthetics · Art · Art history · Feeling · Film director · Literature · Movie theater · Narrative · Political science · Psychoanalysis · Reading (process · Sociology · Visual arts · Art, Politics, and Modernism · Cinema and Media Studies · Gender Studies · Law · Psychology · Social Psychology
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2024 - 2024 (1) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 1 |