Chris Marker Notes from the Era of Imperfect Memory

Blow Up: Luc Lagier’s homages to Chris Marker


Last Updated on January 16, 2021 by bricoleur

Chris Marker titles Sans Soleil, Le Joli Mai, A.K., Une Journée d'Andrei Arsenevitch, Le Fond de l'air est rouge, Chats perchés

And if a character could gain autonomy, independence? If he could create not only holes in time but also holes in films, faults, bridges, places of passage? If he could escape from his movie and join another?

Luc Lagier

Poétiques et composés, les génériques de Chris Marker font écho à ses oeuvres, petits bijoux du cinéma français. A l'occasion d'une nuit dediée à Chris Marker le 6 mai 2018, Blow Up en profite pour revenir sur l'originalité et l'efficacité communicative des génériques du cinéaste.

Arte TV

Poetic and composed, the opening credits of Chris Marker echo his works, small gems of French cinema. On the occasion of a night dedicated to Chris Marker, May 6, 2018, Blow Up takes the opportunity to return to the originality and communicative efficacy of the opening credits of the filmmaker.

Arte TV

As background, we learned that Luc Lagier is the cinephile and archivist who assembles the ‘web magazine' Blow Up for ARTE France. Quite a few of the episodes have focused on Chris Marker, including the montage mixing La Jetée and Hitchcock's Vertigo (“Quand La Jetée croise Vertigo“); the above “Les génériques de Chris Marker”; and an “Hommage à Chris Marker.” Others episodes have tackled Tarantino, Tom Waits, John Carpenter, Michael Haneke. Here's the home page of ARTE.TV Blow Up.

Source: Qui est Luc Lagier, le cerveau de Blow up d'Arte ?

Hommage à Chris Marker – ARTE Blow Up

There is also another series ARTE produces called Short Cuts. One featured in the article on Luc Lagier is entitled “Vertigo in 1 Minute” in pure vector graphics and a highly effective minimalist three-color palette, with Markeresque nods to the spiral motif as vertigo of time. The idea of characters escaping from one film into another holds true for both La Jetée and Sans Soleil — specifically in regard to Vertigo. These ‘bridges' allow films to communicate with one another in a kind of rhizomatic manner. Does this explication also not resemble the radical departure of essay film from the documentary?

“The rhizome is both heterogeneous and multiplicitous. It can be entered from many different points, all of which connect to each other. The rhizome does not have a beginning, an end, or an exact center.” (Chicago School of Media Theory: “rhizome“). The same article quotes Carl Jung's early meditation on the rhizome, predating Deleuze and Guattari.

Vertigo en Une Minute – ARTE

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Chris Marker Notes from the Era of Imperfect Memory
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