ABSTRACT
Perec's attitude to reality is obvious here, unsurprising since his entire project is steeped in realism. In an interview regarding his script for Série noire, Perec recognizes the influence of cinema on his writing – he refers to the idea of tracking shots in La vie mode d'emploi. Repeated gestures of everydayness are observed: plugging in the kettle, switching on the kettle, putting some Nescafé in a bowl, pouring the water into the bowl, drinking the coffee – on the bed, standing up or on the window ledge – recurrent shots of this type are observed throughout the film. This chapter elaborates on the use of film as a mode of investigation of the everyday suggesting that several of Chantal Akerman's films have a similar interest to Perec's brand of everydayness and constitute a sort of parallel 'universe' to Espèces d'espaces.
