This essay begins by placing Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles in the context of its theatrical release in 1976, considering, first of all, its screening at the Edinburgh Film Festival and then the importance of the film both in its own right and within feminist experimental filmmaking at the time. To analyze a film that has, over the last forty years, been the subject of extremely illuminating critical writing, the essay focuses on its relation to the domestic melodrama, with particular attention to the topography of Jeanne's apartment, its mise-en-scene, the film's use of language, and its undercurrent of humor.
A Neon Sign, A Soup Tureen: The Jeanne Dielman Universe
Laura Mulvey is Professor of Film and Media Studies at Birkbeck College, University of London. She is the author of Visual and Other Pleasures (Macmillan, 1989; second edition, 2009), Fetishism and Curiosity (BFI, 1996; second edition, 2013), Citizen Kane (BFI Classics series, 1992; second edition, 2012), and Death 24x a Second: Stillness and the Moving Image (Reaktion Books, 2006). She made six films in collaboration with Peter Wollen including Riddles of the Sphinx (1977; DVD 2013) and Frida Kahlo and Tina Modotti (1980). With artist/filmmaker Mark Lewis, she has made Disgraced Monuments (1994) and 23 August 2008 (2013).
Laura Mulvey; A Neon Sign, A Soup Tureen: The Jeanne Dielman Universe. Film Quarterly 1 September 2016; 70 (1): 25–31. doi: https://doi.org/10.1525/fq.2016.70.1.25
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