Abstract
The Belgian-born filmmaker Chantal Akerman's Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles(1975) represents the self-reflective temporality of cinema through tableau. The characteristics of Akerman’s tableau are frontality and decentralized characters’ gestures. The frontality works against the illusion of the dominant film. Meanwhile, the body shows ‘chronosigne’, also known as ‘Gestus’ in the book ‘Cinema’. It is not easy to guess the meaning of the physical attitude of the character Tableau in this movie. The tableau serves in a special manner, reproducing the ambiguity of the female character. The camera's gaze, which allows the viewer to see the physical actions of the person in the gendered frame, is maintained throughout the film, breaking the illusion of reality. For this purpose, the tableau intentionally represents a two-dimensional frame, taking the opposite of three-dimensionality. The tableau was used as an aesthetic strategy in this film through the camera, which is set at a certain distance from the objet, with long durations in this film.
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