Abstract

The text is an analysis of the metaphors of space, borders and doors in the film Jeanne Dielman by Chantal Akerman. The author combines Thomas Elsaesser’s theoretical considerations on a metaphor of door and screen in the cinema with Erving Goffman’s, among others, analysis of social behaviour to interpret the stratifications of space in the film and their reference to the main character’s mental situation. The article also discusses various kinds of borders in Akerman’s work, which have spatial, cultural, physical and mental dimension.