The milestone 100th issue of Camera Obscura recognizes the work and legacy of Belgian filmmaker Chantal Akerman (1950–2015). Arguably the most important figure in feminist film culture, Akerman is central to Camera Obscura's own legacy, and her film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles was covered in one of the first issues of the journal. The contributors to this special issue return to Akerman's work, illuminating her films, writings, and installations through new criticism and discussion. The issue includes a rich collection of newly published photographs, scholarly essays by leading Akerman scholars, a filmography and installation list, and rare interviews with Akerman's close collaborators.Contributors. Claire Atherton, Janet Bergstrom, Kelley Conway, Sandy Flitterman-Lewis, Ute Holl, Heike Klippel, Eva Kuhn, Matias Lavin, Alisa Lebow, Brenda Longfellow, Babette Mangolte, Ivone Margulies, Michael MaziÈre, Eva Meyer, Sandra Percival, Jane Stein, CÉcile Tourneur, Maureen Turim, Sonia Wieder-Atherton, Patricia White
