You Only Live Twice Set at La Jetée’s Orly Airport

You Only Live Twice: Sex, Death and Transition

By Chase Joynt and Mike Hoolboom

Coach House, 152 pages, $14.95

On the day of French director Chris Marker’s death, two movie artists meet at the Orly Airport. It’s a place of professional interest, since Marker, a favourite New Wave cineaste, set a pivotal scene in his 1962 film, La Jetée, here. The film involves time travel such that in this particular scene the protagonist witnesses his own death, and so for trans writer and media artist Chase Joynt and HIV-positive movie artist Mike Hoolboom, this location is also a place of personal resonance: Both men share a sense of having lived twice. In the series of vignettes that follow, Joynt and Hoolboom enter into a free-flowing correspondence on multifarious topics – love, sex, art, death, the public and the private – that brings to mind Maggie Nelson’s work of autotheory from last year. The reflexive format allows for what John Berger would call a “real likeness”: a portrait from both sides of the camera. An intellectually expansive, emotional gut-punch of a

Chris Marker et la photographie


What: Journée d’étude | Day of Study

Title: Chris Marker et la photographie | Chris Marker and Photography

Who: Vincent Jacques, avec la participation de | with the participation of:

  • Philippe Bazin
  • Christa Blümlinger
  • Pierre Gaudin
  • Vincent Jacques
  • François Niney
  • Bamchade Pourvali

When: samedi 28 mai 2016 | Saturday May 28th, 2016 – Institut national d’histoire de l’art (INHA), Salle Vasari | 2, rue Vivienne – 75002 Paris

Additional information at la recherche en littérature &

Chris Marker et la photographie

Organisation scientifique : Vincent Jacques (ENSA Versailles / LéaV)

Samedi 28 mai 2016 à 10h

Salle Vasari, Institut national d’histoire de l’art (INHA), 2 rue Vivienne, 75002 Paris

S’il s’est fait mondialement reconnaître comme cinéaste grâce à des films comme La Jetée, Le fond de l’air est rouge ou Sans Soleil, le cinéma et la vidéo n’épuisent pas la pratique de l’image de Chris Marker. En effet, une constante de son oeuvre consiste en l’usage de la photographie. Entre 1956 où il publie son premier portfolio Clair de Chine dans la revue Esprit et l’exposition Passengers à New York dans les galeries de Peter Blum en 2011, il aura pratiqué le genre à intervalle régulier et publié cinq recueils de photo, Les Coréennes (1959), La Renfermée. La Corse (1981), Le Dépays (1982), Staring Back (2007) et Passengers (2011). Quatre de ces recueils sont accompagnés d’un texte de l’auteur (La Corse est écrit par Marie Susini) : comme c’est le cas dans toute la production de Marker, quel que soit le médium, la photographie participe d’une démarche plus large que l’exploitation d’une seule modalité d’expression.

Notre journée d’étude se propose donc d’aborder l’oeuvre par le biais de la photographie, c’est-à-dire d’étudier le travail photographique de Marker en lui-même et dans le cadre d’une démarche plus générale. Soulignons d’emblée que ce travail n’a jamais vraiment été entrepris, les textes sur Marker étant quasi exclusivement consacrés à ses films tandis que les histoires de la photographie contemporaine font systématiquement l’impasse sur cette part de l’oeuvre. L’approche du travail photographique de Marker se fera selon trois axes. 1- Analyser comment l’auteur brouille la limite entre les genres (cinéma, essai, installation, jeux vidéo…) dans une recherche constante de nouvelles articulations entre l’image et le texte. 2- Étudier comment se construisent les séries de photographies en vue d’écrire et de réécrire en permanence la mémoire du siècle, à la lisière de l’intime et du collectif. 3- Aborder la question du traitement informatique de l’image photographique : quels sont les enjeux des manipulations opérées grâce aux logiciels de retouche numérique qui deviennent la marque de fabrique des dernières photos de Marker ?


•10h-10h15 | Accueil des participants
•10h15-11h | Philippe Bazin (École Nationale Supérieure d’Art de Dijon) : « Les transports de Chris Marker. À propos de Passengers ».
•11h-11h45 | Christa Blümlinger (Université Paris 8, ESTCA) : « L’attraction du Musée. Notes sur Chris Marker ».
11h45-12h : Pause
•12h-12h45 | Pierre Gaudin (École Nationale Supérieure d’Architecture de Versailles) : « La photographie filmée comme document-matière et document-mémoire chez Chris Marker : prise de vue photographique et montage cinématographique ».
12h45-14h45 : Pause déjeuner
•14h45-15h30 | Vincent Jacques (École Nationale Supérieure d’Architecture de Versailles, LEAV) : « Floue, lisse, pliée : métamorphoses de la photo chez Chris Marker ».
•15h30-16h15 | François Niney (La Fémis, IRCAV) : « Un battement de cil, un battement de coeur : photo animée et photogramme arrêté, le “cinémarker” entre reprise et suspens du temps ».
16h15-16h30 : Pause
•16h30-17h15 | Bamchade Pourvali (Université de Paris Est-Marne la Vallée) : « Philosophie de la photographie et mise en page chez Chris Marker ».
17h30 : Fin de la journée

Guillaume, Guillaume, Guillaume…

Guillaume, Guillaume, Guillaume (The cat named Guillaume)
Visiting Chris Marker in Second Life
Katie Rose Pipkin


I never really lived in Second Life. As an artist working in digital spaces this is patently uncool. But it is true; by the time I stumbled onto the massively multiplayer simulation it was already empty, a shrinking economy and user-base spread across a vast and often-private landscape leaving the world desolate at best.

Around this time, I attended a seminar in which a subdued Jon Rafman gave us a tour of the sim, not in his eponymous Kool-Aid man avatar, but rather (if I’m remembering correctly) as a understated goth animal, perhaps some kind of dog. We were shown around a few of Rafman’s old haunts; a sex-club, a unicorn glade; all abandoned. Eventually we went to a welcome area, where there were 20-odd avatars sitting around and voice chatting. A small, diapered man was running up against the architecture repeatedly- a winged, corseted goddess-figure was talking about their kids. When we said hello (in unison, all of us) the other players were kind and welcoming, if a bit bored. Rafman seemed surprised; he told us that this was rare culturally, that the general sentiment about his art-world tour presence (and perhaps the presence of anyone new) was animosity.

Unsettled, I didn’t visit again for at least another year.

In the meantime, I was watching Sans Soleil, Chris Marker’s 1983 experimental travel documentary. I say watching, not watched, as it turned into a process; after seeing the film several times in a month, I downloaded a text file of the script and read it like a charm, in pieces, whenever I needed to write or to think in elegance. It is still open, autosaved as Unsaved Pages Document 20. I was surprised it should be so important to me; the work is disarmingly sincere, almost saccharine at times.

He writes; “I’m writing you all this from another world, a world of appearances. In a way the two worlds communicate with each other. Memory is to one what history is to the other: an impossibility.”


Katie Rose Pipkin, “Guillaume, Guillaume, Guillaume (The cat named Guillaume): Visiting Chris Marker in Second Life”, [email protected]/ Go to Medium to read the full text, merely excerpted above…

State of the Estate II: The Glorious Shambles

Chris Marker atelier with Guillaume by Agnès Varda

In the middle, on the balcony, the tree has grown, just a little.Chris Marker

Though the article cited below focuses on the archive of Jacques Demy acquired by the Cinémathèque française, this interview, part two of a series between journalist Louis Guichard and the Cinémathèque’s head Serge Toubiana, takes a fascinating if brief detour into the case of the estate of Chris Marker. If it sounds like there’s a mystery novel in there somewhere, there is.

One of the ideas that appears here in nuce is that of mapping a tree structure of Marker’s work. I am led to imagine a majestic infographic showing the main trunk and the branches into bifurcating gardens of media visualizing the fruits of Marker’s bricolage. Immemory, Dialector, Second Life, YouTube. Collective work, personal work, anonymous work. Writing, photography, programming, book design. The branching of names, aliases, pen names, noms de guerre. Guillaume’s poptronics forays into political commentary. The filmic byproducts of Marker’s home away from home in Second Life, Ouvroir, including The Third Cat and Ouvroir: The Movie. Arborescent branchings of a life/work of intelligence and curiosity, ceaseless but ending nonetheless — though continued in all who were en-raptured by his work, echos, reverberations, new generations of artists — other trees that grew up around the central tree of life/work. And underneath the trees, the rhizomes, like the beach beneath the concrete, driving slogan of May ’68…

Here’s the excerpt that fills in some details to the already reported State of the Estate, back in June. You can follow Serge Toubiana’s blog at More of course as we know more.

L’acquisition d’archives payantes est-elle une option ?


Il y aussi le cas de Chris Marker, qui n’a pas fait de testament. Au cours des dernières années de sa vie, il était logé chez Costa-Gavras, président de la Cinémathèque, et il avait dit qu’il laisserait une lettre précisant ce qu’il voulait faire de ses archives. Mais on n’a rien trouvé de tel. A sa mort, il y a donc eu un inventaire sommaire et une recherche de descendance qui a identifié six personnes au 5e et 6e degrés… Nous leur avons fait une proposition qui a été retenue et nous avons acquis le fonds pour 40 000 euros. Nous nous sommes trouvés face à une sorte de gigantesque foutoir avec des lots énormes de photos, de négatifs, de disques durs, d’ordinateurs, tout le travail qu’il faisait sur Second Life, des centaines de petits objets, de collages, de journaux… Il gardait tout. Mais qu’en faire ? C’est un travail considérable. Nous avons constitué une équipe en interne chargée de poursuivre l’inventaire et de travailler sur le fonds numérique. De plus, un comité scientifique se réunit régulièrement. Comment montrer l’arborescence de cette œuvre hybride? Chris Marker était un média à lui tout seul. Peut-être faudra-t-il associer des ingénieurs à cette réflexion… Il y aura sans doute un événement Marker à la Cinémathèque en 2017 ou 2018.Serge Toubiana, interviewed by Louis Guichard, “Serge Toubiana : “Le don des archives Demy à la Cinémathèque est un geste de confiance et d’amitié”,

Rough English Translation

Is paying for archival acquisitions an option?


There is also the case of Chris Marker, who did not create a will. In the course of the last years of his life, he was living with Costa-Gavras, President of the Cinémathèque, and he had said that he would leave a letter specifying what he wished to do with his archives. But nothing like this was found. With his death, a summary inventory took place, along with research into his heirs that identified six persons removed by 5 or 6 degrees… We made them a proposition that was agreed upon and we acquired the estate for 40,000 Euros. We found ourselves faced with a sort of gigantic shambles, with enormous stacks of photos, negatives, hard drives, computers, all the work that he conducted in/on Second Life, hundreds of small objects, collages, journals… He kept everything. But what to do with it? It’s a considerable piece of work. We put together a team internally, charged with pursuing the inventory and working on the digital archive. In addition, a scientific committee meets regularly. How to present the tree structure of this hybrid work? Chris Marker was a media [enterprise] unto himself. Perhaps it will be necessary to have engineers consider this reflection… There will be without a doubt a Marker event at the Cinémathèque in 2017 or 2018.

Also, please stay tuned for our upcoming article on the new book ZOO, which collects the animals from the Petite Planète series Marker edited into an exciting new work.

History of the Dialector Program

Chouette Dialector 6 Chris Marker

Dialector is now online at
The text below is reproduced from that page. French version available there as well…

HISTORY OF THE DIALECTOR PROGRAM by Agnès de Cayeux, Andrès Lozano, Annick Rivoire

Sergei Murasaki, Kosinki, Stalker Sandor, Iterovich… No matter which pseudonym we use to refer to him, Chris Marker was the first‚ the first geek, the first programmer, the one who dove into computers, graphics cards, PEEKs and POKEs, who took a bite out of the apples of Alan (Turing) and Steve (Jobs and Wozniak). Marker programmed in 64k, 128k and 256k, wielding 5.25 floppies, poetry and invention. He wrote lines and lines of Basic code on his Apple // e, c and GS, those marvelous machines of the 1980s. Marker was a genius of computer thinking, inversing algorithmic logic, dodging digital syntax and refusing the label of visionary artist : “Let’s leave that to Steve Jobs”, he wrote.

It’s 2010. Marker recalls “the good old days when you could program quickly in Applesoft Basic.” He writes about his artificial intelligence (AI) dialogue program : “DIALECTOR was the sketch of a program that was interrupted when Apple decided that programming should be reserved for professionals. What remains are a few, probably incomprehensible, fragments and a dialogue sample. The original is stored somewhere on 5.25 floppy disks that are unreadable today. I’m sure that if I had been able to continue working on it at a pace of a few lines a day, the program would have had a much richer reserve of conversation, but that’s the way it is (and if CD-ROMs… and if… and if… wrong way of thinking).”

So, more than two decades after the slow-paced writing of DIALECTOR (from 1985 to 1988, time spent on inventing the possibility of a double, an ode to immortality), Chris Marker shares his thoughts : “Translating Applesoft Basic into contemporary code is probably unimaginable‚ this could have been one of my specialties: creating within the realm of the unattainable.”

This is the story of a man, his screens, his machines and his languages. It is also our story, that of computers and of thought : Do machines think ? And the story of an unrealized dream from the 1980s, a utopia developed out of AI.

It’s 2011. Marker e-mails us a few old annotated pages of the DIALECTOR program, as well as a dialogue sample. Then he finds the infamous 5.25 floppy and sends it over. It’s version 6 of the program. Time passes.

It’s 2012. We manage to track down an Apple // machine and its person. Together we set off on this journey into the history of computer programming. The floppy is readable. Version 6 of DIALECTOR, however, won’t execute and stops at the third command line, on the image of an owl. We extract the contents of the disk and discover that all the DIALECTOR files and version 6 of the program are intact, more than 20 years after they were saved‚ a miracle in the merciless world of programmed digital obsolescence. We convert them to text format and return them to Marker the same day, as requested.

It’s 2015. We have analyzed Marker’s lines of code and translated the program originally written in Applesoft Basic into a contemporary programming language. DIALECTOR runs on our computers. History is now imaginable. We converse with the program’s protagonist, whose name is COMPUTER. We spend hours in front of the computer screen, our machines and our apples. DIALECTOR is inexhaustible, with the humor of an English-speaking cat, a New York owl and a passing face.

It’s 1988. DIALECTOR suggests the futuristic and a-mortal vision of an anachronistic computer science dedicated entirely to poetic thought. In his stab at programming, Marker wrote the future face of machines: not very spectacular and, in a way, much more terrifying. He (perhaps unintentionally) predated a model of modernist fantasy that elevates the computer network to a possible matrix world, whose elements are already in place. The static, rudimentary art of reading on screen is now devoted to the irresistible ascension of the owl‚ eternal muse of the world according to Chris.

DIALECTOR is a computer program developed by Chris Marker in Applesoft Basic on an Apple //
The version that Chris Marker sent us is version 6 of the program, written in 1988.
DIALECTOR 6 is a conversational program that also contains visual and audio elements.
The program was originally saved on a 5.25-inch floppy disk.
According to Marker’s friend and engineer Paul Lafonta, previous versions were clearly geared toward multimedia development (touch screen, interactivity, etc).

Agnès de Cayeux, Andrès Lozano, Annick Rivoire

Apple II

André Bazin on Chris Marker (1958)


Trans. Dave Kehr, © Cahiers du Cinéma, published in Film Comment, 2003.

Chris Marker, as you may remember, wrote the narration for Bibliothèque Nationale (Toute la mémoire du monde) and Statues Also Die (which the public still has only been able to see in a version cut to half its length by the censorship board). These incisive, powerful texts, in which cutting irony plays hide and seek with poetry, would be enough to secure their author a privileged place in the field of short filmmaking, currently the liveliest fringe of the French cinema. As the writer of the narrations for these films by his friend Resnais, with whom he shares a marvelous understanding, Chris Marker has already profoundly altered the visual relationship between text and image. But his ambition was obviously even more radical, and it became necessary for him to make his own films.

First there was Sunday in Peking, which justly won a prize at the 1956 Festival of Tours, and now, at last, there is the extraordinary Letter from Siberia. Admirable as Sunday in Peking was, it was also slightly disappointing, in that the restrictions of the short format seemed inadequate for such a big subject. And it also has to be said that the images, while often very beautiful, did not supply sufficient documentary material in the end. It left us wanting more. But the seed of the dialectic between word and image that Marker would go on to sow in Letter from Siberia was already there. In the new film, it grows to the dimensions appropriate to a feature film, and takes the weight.

“A Documentary Point of View”

How to describe Letter from Siberia? Negatively, at first, in pointing out that it resembles absolutely nothing that we have ever seen before in films with a documentary basis – films with “a subject.” But then it becomes necessary to say what it is. Flatly and objectively, it is a film report from a Frenchman given the rare privilege of traveling freely in Siberia, covering several thousand kilometers. Although in the last three years we have seen several film reports from French travelers in Russia. Letter from Siberia resembles none of them. So. We must take a closer look. I would propose the following approximate description: Letter from Siberia is an essay on the reality of Siberia past and present in the form of a filmed report. Or. perhaps, to borrow Jean Vigo’s formulation of À propos de Nice (“a documentary point of view”), I would say, an essay documented by film. The important word is “essay,” understood in the same sense that it has in literature — an essay at once historical and political, written by a poet as well.

Generally, even in politically engaged documentaries or those with a specific point to make, the image (which is to say, the uniquely cinematic element) effectively constitutes the primary material of the film. The orientation of the work is expressed through the choices made by the filmmaker in the montage, with the commentary completing the organization of the sense thus conferred on the document. With Marker it works quite differently. I would say that the primary material is intelligence, that its immediate means of expression is language, and that the image only intervenes in the third position, in reference to this verbal intelligence. The usual process is reversed. I will risk another metaphor: Chris Marker brings to his films an absolutely new notion of montage that I wall call “horizontal,” as opposed to traditional montage that plays with the sense of duration through the relationship of shot to shot. Here, a given image doesn’t refer to the one that preceded it or the one that will follow, but rather it refers laterally, in some way, to what is said.

From the Ear to the Eye

Better, it might be said that the basic element is the beauty of what is said and heard, that intelligence flows from the audio element to the visual. The montage has been forged from ear to eye. Because of space limitations, I will describe only a single example, which is also the film’s most successful moment. Marker presents us with a documentary image that is at once full of significance and completely neutral: a street in Irkutsk. We see a bus going by and workers repairing the roadway, and then at the end of the shot a fellow with a somewhat strange face (or at least, little blessed by nature) who happens to pass in front of the camera. Marker then comments on these rather banal images from two opposed points of view: first, that of the Communist party line, in the light of which the unknown pedestrian becomes “‘a picturesque representative of the north country,” and then in that of the reactionary perspective, in which he becomes “a troubling Asiatic.”

This single, thought-provoking antithesis is a brilliant stroke of inspiration in itself, but its wit remains rather facile. Its then that the author offers a third commentary, impartial and minutely detailed, that objectively describes the unhappy Mongol as ‘”a cross-eyed Yakout.” And this time we are way beyond cleverness and irony, because what Marker has just demonstrated is that objectivity is even more false than the two opposed partisan points of view: that, at least in relation to certain realities, impartiality is an illusion. The operation we have observed is thus precisely dialectic, consisting of placing the same image in three different intellectual contexts and following the results.

Intelligence and Talent

In order to give the reader a complete sense of this unprecedented enterprise, it remains for me to point out that Chris Marker does not restrict himself to using documentary images filmed on the spot, but uses any and all filmic material that might help his case—including still images (engravings and photos), of course, but also animated cartoons. Like McLaren, he does not hesitate to say the most serious things in the most comic way (as in the sequence with the mammoths). There is only one common denominator in this firework display of technique: intelligence. Intelligence and talent. It is only just to also point out that the photography is by Sacha Viemy. the music the work of Pierre Barbaud. and that the narration is excellently read by Georges Rouquier.

Andre Bazin, 1958

Further Reading:  Chris Darke, “Chris Marker Eyesight,” Film Comment, 2003.

Happy Birthday Chris Marker

Bon anniversaire Chris!

What else is there to say? Everything’s been said. Birth and death like an oroborous, the legendary snake eating its tail, where the date July 29, 1921 superimposes itself on another date, July 29, 2012. The two dates merge in an origami fold. Inside the fold is an extraordinary life and a wealth of extraordinary works. Inside is a cat, stretching its paws to the sound emanating from the speakers, a cat reclining on a keyboard. Inside is a love affair with cinema, and a Japanese bow to Kurosawa, Tarkovsky and Hitchcock. Inside is a spiral, a tree trunk, the madness of time. Inside are thousands of photographs, each emanating the gaze of the master spectator, the man behind the camera and very rarely in front of it. Inside the fold are memories and a system of memories, strongholds against the onslaught of history’s wounds, erasures, distortions. Inside the fold is the Zone, a place where images mutate and take on disguises, where seekers wander in search of lost time, where stray dogs pace and owls sit with observant eyes, recording. The birth and the death touch like this, like the creation of Adam. The original breath of the baby, the last breath of the old man, still working, always working. The tears of friends and lovers, innumerable fans for the most famous of the unknowns. A loss is felt, because we care for the visions given to us by a man of vision. We care for the traces, relics, breadcrumbs left as a puzzle for our minds but also our hearts. Mysteries of time and remembrance, tastes of the futures fractal in the micro/macro, traces of the places he traveled. The dogs are crazy on the island of Sal, and all the other islands. “I found my dogs pretty nervous tonight; they were playing with the sea as I had never seen them before. Listening to Radio Hong Kong later on I understood: today was the first day of the lunar new year, and for the first time in sixty years the sign of the dog met the sign of water.” He was an island but also a continent, unfindable on any map. There be dragons. There be mysteries. There be celebration, rueful meditation and admiration.

Here’s an intelligent, fun video compiled by ARTE:


“A more modest and perhaps more fruitful approach might be to consider the fragments of memory in terms of geography. In every life we would find continents, islands, deserts, swamps, overpopulated territories and terrae incognitae. We could draw the map of such a memory and extract images from it with greater ease (and truthfulness) than from tales and legends. That the subject of this memory should be a photographer and a filmmaker does not mean that his memory is essentially more interesting than that of the next man (or the next woman), but only that he has left traces with which one can work, contours to draw up his maps.”

Chris Marker, Immemmory

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Chris Marker Month at MUBI

Our friends at MUBI are putting on a Chris Marker retrospective this Summer, giving UK members the ability to see Chris Marker films online for a small monthly fee. I’m trying to get more details on the programming & country limitations, so please check back here. Note 7/28/15: I’ve confirmed that the retrospective is limited to the UK site.

We’ve been adding one title a week for the past three weeks, and from tomorrow July 29th (and as I’m sure you know, the anniversary of Marker’s birth and death) the four of them will be live.

This summer we’ll be hosting a retrospective on one of our all-time favourite auteurs, Master film & video essayist Chris Marker. Each week we’ll play one of his most iconic works.MUBI Marker Month

MUBI is known for its informed, eclectic and globe-spanning programming. The site has a large archive of films known and unknown, a selection of which are available live at any given time. MUBI screens classics and obscure indie films alike, all curated by people with great taste & wide-ranging interests. You won’t find this cinéphilic catalog on Netflix. In addition, extensive user-contributed lists, ratings, favorites & following functionality add a social media dimension to the site.

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Pompidou Planète Marker Video Archive

It’s been a great pleasure, having been unable to attend the Centre Pompidou’s 2013 Chris Marker exhibition and retrospective, to witness the appearance on Daily Motion of videos of the talks that were held, as well as a wonderfully edited overall / intro video that emerges us in Marker’s visual world. While a longer post is in progress on the series and the practice of video archiving, I did want to present the intro video first, as a kind of teaser and work of art unto itself.

Planète Marker – du 16 octobre 2013 au 22 décembre 2013

Planète Marker – du 16 octobre 2013 au 22… by centrepompidou

Par Raymond Bellour, écrivain et théoricien de cinéma.
Le Centre Pompidou et la Bibliothèque publique d’information (Bpi) rendent hommage à Chris Marker, à travers ses films bien sûr mais aussi en suivant la piste de ses inspirations, de ses amitiés et de ses rencontres… Au coeur de ce voyage, l’exposition de ses installations et des oeuvres multimédias rassemblées dans la collection du Centre Pompidou, ses films et vidéos et un salon de lecture à la | Centre Pompidou channel

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