Raymond Bellour writings on film and CM
It’s been a 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 skillfully 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...
The Unattainable Text Raymond Bellour That the film is a text, in the sense in which Barthes uses the word, is obvious enough. That as such it might, or should, receive the same kind of attention as has been devoted to the literary text is also obvious. But already not quite so obvious. We shall soon see why. The text of the film is indeed an unattainable text. In saying this, despite the temptation of a play on words, I do not mean to evoke the special...
First published in French and English “La querelle des dispositifs / Battle of the Images”, in art press no. 262, November 2000, pp.48-52. Translated from the French by L-S.Torgoff. Some editorial corrections have been made. Battle of the Images Raymond Bellour If there were an open polemic between today’s competing image delivery systems, some light might at last be shed. As it is, all we have is incertitudes – slip-sliding, straddling...
Published here: sergedaney.blogspot.co.uk Trafic and Serge Daney Raymond Bellour When Serge Daney decided to found Trafic, a ‘cinema review’, at the start of the 1990s, he began from the ‘realisation that the intellectual landscape in which cinema exists has changed a great deal. Changed to the extent that the traditional ways of writing about cinema do not “bite” anymore in relation to the reality of classic literary cinephilic consumption’. (1) Daney aimed thus...
Warranting special attention among the typical texts of the sixteenth century are those that, not classified under any recognized genre, overflow the bounds of literary art: the miscellanea and diverse and motley compilations share at least one feature: they gather fragments under more or less traditional headings. All these texts are premature products: they give the public raw or barely processed materials.
“I was 22 when my friend Jean Michaud and I imprudently imagined an ‘Apology for Chris Marker’ on the model offered by Plato. I was 24 when, on the spiral staircase leading to, among other things, the ‘Petite Planète’ office at Éditions du Seuil, Marker pleaded with me – the word that comes is too strong but I can find no other – or asked me not to write a little book on his films, which already constituted an oeuvre, for...
Chris Marker, Owls at Noon. Prelude: The Hollow Men
Chris Marker: Owls at Noon Prelude: The Hollow MenChris Marker, Adrian Martin, Raymond BellourInstitute of Modern Art, AustraliaA heavily illustrated study of French filmmaker Chris Marker’s portentous video installation Owls At Noon Prelude: The Hollow Men, with essays by Adrian Martin and renowned French film theorist Raymond Bellour. Introduced by Robert Leonard.Wexmer Cemter fpr tje Arts
“Schon Alexandre Astrucs Vision von der Caméra-Stylo liegt der Gadanke zugrunde, Bilder schreiben zu können.”– Christa Blümlinger Schreiben Bilder Sprechen: Texte zum essayistischen Film Hrsg. Christa Blümlinger und Constantin WulffWein: Sonderzahl, 1992 CONTENTS: I. Versuch als Form Christa Blümlinger: Zwischen den Bilder/LesenBirgit Kämper: Sans Soleil – “ein Film erinnert sich selbst”Raymond Bellour: Zwischen Sehen und Verstehen...