Delphine Seyrig

Chantal Akerman’s Jeanne Dielman (1975) Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) is a feminist masterpiece on multiple levels. Akerman herself admits that by playing with duration and content of the scenes, she “give[s] space to things which were never, almost never, shown in that way, like the daily gestures of a woman” (Camera Obscura 118). Akerman’s emphasis on real-time duration of household chores adds value to the tasks performed. The feminist touch of

Delphine Lalaurie: A Killer in Disguise America has always been fascinated by the notoriety of serial killers; however, there is not much scholarship on female serial killers and their histories. On YouTube, there is a podcast named "The Big Séance Podcast" hosted by Patrick Keller. Within the podcast Patrick is having a discussion with Victoria Cosner Love about Madame Lalaurie and her history. Madame Lalaurie was born in 1775 to Barthelmy Louis Macarty and Marie Jeanne Lovable, the Macarty’s were

It was 1963, eighteen years since the end of a conflict considered by many to be the deadliest in human history. The European continent, struggling to adapt to a postwar world, began experiencing shifts in the international balance of power; shifts that resulted in the seemingly invulnerable colonial system falling victim to numerous episodes of unrest and innumerable efforts at decolonization. One such effort took place in the French military colony of Algeria, beginning in 1954 with a socialist