Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022)

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The Female Writing of Quiet and Profound: Chantal Akerman’s Films in the Perspective of Feminism

Authors
Xinran Hao1, *, Xiaoge Liu2, Jialu Xu3, Jiancheng Yang4
1HBU-UCLan School of Media, Communication and Creative Industries, Hebei University, Baoding, 071002, Hebei, China
2Sias University, Zhengzhou University, Zhengzhou, 450000, Henan, China
3College of Arts, Xizang Minzu University, Xianyang, 712000, Shaanxi, China
4School of Chemistry, Sun Yat-sen University, Guangzhou, 510275, Guangdong, China
*Corresponding author. Email: haoxinran@stumail.hbu.edu.cn
Corresponding Author
Xinran Hao
Available Online 13 February 2023.
DOI
10.2991/978-2-494069-97-8_52How to use a DOI?
Keywords
Chantal Akerman; Feminist film; Jeanne Dielman
Abstract

As one of the most important feminist film directors in the twentieth century, the works Je, tu, il, elle; Jeanne Dielman, and Les Rendez-vous d’Anna during the seventies by Chantal Akerman all presented a similar kernel on the expression of feminism and have influenced many of the filmmakers throughout the world. Nowadays, feminist films have developed constantly during the past decades and many of them became the new classical model. However, feminism in Chantal Akerman’s film still glittering in our generation now due to its unique historical position. It is significance will not be diminished in a foreseeable future. This article introduces contemporary film theory and the feminist movement in the 1960s as context and some related feminist film criticism theory, which is used as a tool to analyze the 3 works that were mentioned at the level of text. Moreover, some interpretations and critical perspectives of feminist film in new are also provided.

Copyright
© 2023 The Author(s)
Open Access
Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

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Volume Title
Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022)
Series
Advances in Social Science, Education and Humanities Research
Publication Date
13 February 2023
ISBN
10.2991/978-2-494069-97-8_52
ISSN
2352-5398
DOI
10.2991/978-2-494069-97-8_52How to use a DOI?
Copyright
© 2023 The Author(s)
Open Access
Open Access This chapter is licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International License (http://creativecommons.org/licenses/by-nc/4.0/), which permits any noncommercial use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license and indicate if changes were made.

Cite this article

risenwbib
TY  - CONF
AU  - Xinran Hao
AU  - Xiaoge Liu
AU  - Jialu Xu
AU  - Jiancheng Yang
PY  - 2023
DA  - 2023/02/13
TI  - The Female Writing of Quiet and Profound: Chantal Akerman’s Films in the Perspective of Feminism
BT  - Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022)
PB  - Atlantis Press
SP  - 408
EP  - 415
SN  - 2352-5398
UR  - https://doi.org/10.2991/978-2-494069-97-8_52
DO  - 10.2991/978-2-494069-97-8_52
ID  - Hao2023
ER  -