“Scotch! Scotch! Scotch!”: The Inoperative Domestic Scene in Chantal Akerman's Saute ma ville

IF 0.1 3区 艺术学 0 FILM, RADIO, TELEVISION
Eleanor Rowe-Stefanik
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Abstract

This article reads Chantal Akerman's short film Saute ma ville (Blow Up My Town, Belgium, 1968) with and against texts by Giorgio Agamben, Gilles Deleuze, and Herman Melville. Rather than being merely a precursor to Akerman's later genre-defining efforts in recording female domestic life, I propose that Saute ma ville displays the potentiality for domestic labor itself to be a destituent practice, rather than an expected component of reproductive, conventionally gendered work. The way that Akerman mobilizes the inoperative actions of her protagonist — a “girl without references” — in her “preference not to” perform the supportive labor of the domestic space and in so doing literally “blow up her town” makes this early work interpretable as structurally concerned and politically motivated recit in the mode of her later films, rather than merely narrative-focused histoire. The protagonist of the film, in her Chaplinesque resistance to allow household chores to sustain her home, displays a conceptual paradigm in which those still separated from politics and from the space of the polis may yet act politically. Reading the film with Melville's Bartleby the Scrivener and Deleuze's and Agamben's responses to that text puts pressure on the limits of Agamben's thought on inoperativity and reinscribes the importance of Akerman's deeply affective cinematography within an anti-capitalist feminist critique.
“苏格兰威士忌!苏格兰威士忌!苏格兰威士忌!——尚塔尔·阿克曼(Chantal Akerman)的《炒马镇》(Saute ma ville)中无效的家庭场景
本文将阅读尚塔尔·阿克曼的短片《炸毁我的小镇》(1968年,比利时),并与乔治·阿甘本、吉尔·德勒兹和赫尔曼·梅尔维尔的文本进行对比。我认为,这不仅仅是阿克曼后来在记录女性家庭生活方面的体裁定义的先驱,而是表明家务劳动本身是一种贫困实践的潜力,而不是一种传统性别工作的预期组成部分。阿克曼调动她的主人公——一个“没有参考的女孩”——的无用行为的方式,在她“倾向于不”执行家庭空间的支持劳动,这样做实际上“炸毁了她的城镇”,使得这部早期作品可以解释为结构上的关注和政治动机的朗诵,在她后来的电影模式中,而不仅仅是叙事聚焦的历史。影片的主人公卓别林式地拒绝让家务来维持她的家庭,这展示了一种概念范式,即那些仍然与政治和城邦空间分离的人可能仍然会采取政治行动。用梅尔维尔的《抄写员巴特比》德勒兹和阿甘本对文本的回应来阅读这部电影,对阿甘本关于非操作性的思想的局限性施加了压力,并重新定义了阿克曼在反资本主义女权主义批评中深刻情感的电影摄影的重要性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CAMERA OBSCURA
CAMERA OBSCURA FILM, RADIO, TELEVISION-
CiteScore
0.30
自引率
0.00%
发文量
12
期刊介绍: Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.
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