Chantal Akerman / 香特尔·阿克曼 · 1975
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles
Cooking, cleaning, waiting, and counting appear in their full duration. Minute disorder first develops in body and ceremony.
Film details
- Original title
- Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles
- Director
- Chantal Akerman / 香特尔·阿克曼
- Year
- 1975
- Region
- Belgium / France
Film analysis: how shots organize concepts
Jeanne Dielman raises domestic labour from background action to a bodily-temporal institution; minute disorder is a break in how ritual persists, not a psychological symbol.
- 01Ritual times the body
Boiling potatoes, bathing, wiping the table, taking payment, and switching off lights are shown in full; the fixed camera lets the spectator measure each start, duration, and finish.
The everyday is not material filling an editing gap but a way the body bears time; Cinema 2, ch. 8, p. 202 is the primary coordinate. - 02Disorder first changes the object
Overcooked potatoes, misplaced shoes, and brief deviations in light and change appear without the shot explaining their cause.
The time-image acquires pressure through minute differences in objects: action can still finish, yet it no longer restores the identity of the former order. - 03The body interrupts the institution
After the final client, repeated washing, dressing, and sitting no longer reconnect the body to domestic time.
Read beside Ozu's still lifes: Akerman makes duration show its crack, while Ozu lets it show a quiet order; both release time from the dramatic event.
Close-reading questions
- 01How do cooking, cleaning, waiting, and counting become rituals in extended shots?
- 02Does minute disorder first appear in the body, objects, or timetable?
- 03After the final client, why do repeated washing and sitting no longer reconnect the body to domestic time?
Shots and scenes
Primary texts, scholarship, and locators
Theory coordinate: Cinema 2, ch. 8, p. 202
- 01Cinema 2: The Time-Image
Authoritative source for the standard translation, translators, ISBN, and publication date.
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This film in books and research
《吉尔·德勒兹身体创造学研究》 · Atlas extension
Jeanne Dielman
Film relation: Site extension: minute deviations in domestic ritual make bodily time within repeated labour gradually undo the sensory-motor schema.
Shot question: Which minute difference is first registered by the body and only later named by narrative?
Deleuze and Cinema: The Film Concepts · Book case
Jeanne Dielman
pp. 179–185
Film relation: Minute differences in repeated labour make bodily time force thought before narrative explanation.
Shot question: Which minute difference is first registered by the body and only later named by narrative?
The Cinematic Body · Further discussion
Can intensity escape the viewing position?
pp. 9–10
Claim: A body being affected does not mean the apparatus has been dismantled. Viewpoint, suture, sound, and institutions can use intensity to secure an existing position.
Extension: Mulvey and Doane keep the gendering of the gaze in view and track how spectatorship moves among identification, voyeurism, and masquerade.
Tension: Apparatus theory loses uncontrolled shock, disgust, and pleasure when it reduces bodies to positions; treating dislocation as sufficient evidence of escape also misses how intensity can serve domination.
Mulvey: Visual Pleasure and Narrative CinemaDoane: Film and the Masquerade
The Cinematic Body · Further discussion
Desire exceeds identity; costs are still distributed by identity
pp. 72–73
Claim: Molecular mobility can undo naturalized identities, but it cannot cancel the unequal distribution of law, labor, medicine, and violence through identity categories.
Extension: Rizzo tests Deleuzian embodiment and becoming through feminist analysis; Clover returns cross-gendered spectator identification, pain, and survival to the institutions of horror genre.
Tension: The book's molecular transsexuality and claim that all desire is homosexual are 1993 philosophical provocations, not present-day trans identity theory, and they cannot erase communities, consent, or material sanctions.
Rizzo, Deleuze and Film: A Feminist IntroductionClover, Men, Women, and Chain Saws
Viewing gateways and editions
- Verified complete Bilibili multipart carrier: 【让娜·迪尔曼】-香特尔·阿克曼-1975bilibili.comOpen film page ↗
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- Accessible when checked
- Version extent
- Recorded as a complete version
- Source type
- User-uploaded page
Edition note: Complete 28-part film · 3:22:15.
Link checked: 2026-08-13
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