Category Archives: Animaux

Three Cheers for the Whale

Over the next two decades, Chris and I spoke on the phone periodically and I attended several of his rare public presentations. In 2007, Jon Miller, president of our mutual distributor Icarus Films, contacted me to see if I would be willing to assist Chris in the making of a new English version of his 1972 film “Vive la Baleine”, a passionate, collage-based essay film on the plight of the whales. Of course, I was honored and immediately said yes. For one whole year, Chris and I corresponded weekly as we re-wrote and updated the narration and I searched for a male and a female voice-over actor to read the two parts. He renamed the new 2007 version of his film “Three Cheers for the Whale”. It is distributed with other “bestiary” films he has made including “The Case of the Grinning Cat”.
Lynne Sachs, LynneSachs.com

With Lynne Sachs’ moving post on meeting Marker in Berkeley and San Francisco, starting a correspondence with Marker and eventually working with him on an English version of Vive la baleine, I felt I would be remiss to not fill in this blank on the site. The topic is as important as ever, Marker’s heart in the right place as ever, his use of images of the past a propos as ever. What more can we say? The post also gives a sense of the scale and relentlessness of the work this one person undertook to make films in the mode of the caméra-stylo (without assistants). So busy but never too busy to make a new friend, and to put that friend eventually to work. He didn’t forget, he had her filed in his library of babel for contact when the moment was right. There is much to admire here.

Unfortunately, I can’t find an online copy of the English remake Three Cheers for the Whale. It seems to have been up on YouTube and then taken down again. Let us know in the comments if you find a version that can be embedded here. I will also work to translate the essay in French by François Giraud into English and add it to this post.

A comment on the IMDB entry for Vive la baleine:

Chris Marker’s usual mix of “borrowed” pieces of different film textures (film, video, animation, photographs, paintings) serves as a poetic, passionate and very sound warning against the widespread, business-like, matter-of-fact killing of whales around the world. If today its message may sound obvious to most of us — almost everybody is aware of the danger of whale extinction, though of course there are still killings out there — it can still be enlightening as to the appalling methods of whale-hunting worldwide through the ages, as well as the very special place that this big cetacean has occupied in human mythology, history, economics and art, the “challenge” of little men killing the biggest animals on the planet, and making the mo$t of it.

The quality of the images vary tremendously, and for sure there are scenes that will make you cringe with horror (not unlike Geroges Franju’s 1949 one-day-in-a-slaughterhouse “Le Sang des Bêtes”). Marker’s incomparable talent for weaving his commentary with creative insight, historical research, wit, irony and common sense elevates this short film above the routine ecological documentary.www.imdb.com

More material on Vive la baleine:
Par François Giraud – le 11 février 2014

vive-la-baleine-4images

Au cours de sa longue carrière, et surtout dans sa période militante, Chris Marker a souvent collaboré avec d’autres cinéastes. Cette pratique participe à l’éclectisme et à la complexité de son œuvre pléthorique. Avec Mario Ruspoli, documentariste d’origine italienne mais parlant couramment le français, Chris Marker a fait deux films, sur un thème commun, à seize ans d’intervalle : Les Hommes de la baleine en 1956 et Vive la baleine en 1972. Pour être tout à fait juste, Les Hommes de la baleine est entièrement réalisé par Ruspoli, tandis que Vive la baleine est le fruit d’une co-réalisation entre les deux hommes. Pour autant, Chris Marker a signé le commentaire, sous le pseudonyme de Jacopo Berenizi, du court-métrage de 1956, jouant ainsi un rôle déterminant dans la réussite artistique de ce film.

Tourné aux Acores, Les Hommes de la baleine commence par le dépeçage d’un géant des mers. Cette séquence forte est accompagnée d’un commentaire qui dénonce le massacre des baleines à des fins purement industrielles. Pour autant, Mario Ruspoli cherche surtout à montrer comment les populations pauvres de ces îles continuent de pratiquer avec authenticité la chasse au cachalot et risquent leur vie pour subvenir à leurs besoins. A la manière d’un documentariste ethnographique, le cinéaste s’intéresse aux techniques traditionnelles de la chasse au harpon et aux conditions de vie rustiques de ces pêcheurs.

En 1972, le ton a changé, le style également. Ce qui a motivé la réalisation de cette “suite” est la décision, en 1972, de la Commission baleinière internationale d’arrêter la chasse pendant dix ans. Comme le précise le commentaire de Chris Marker, cette réglementation est ignorée par le Japon et l’U.R.S.S., deux pays qui pratiquent la chasse à la baleine de manière industrielle, sans se préoccuper de la survie de l’espèce. Vive la baleine s’ouvre ainsi sur ce cri du cœur : « Car vous vous éteignez, baleines ! Comme de grosses lampes. Et si vous n’êtes plus là pour nous éclairer, vous et les autres bêtes, croyez-vous que nous y verrons dans le noir ? » La voix-off condamne le passage d’une lutte naturelle entre l’homme et la baleine à une lutte d’ordre exclusivement industriel qui ruine l’équilibre de la planète. Le court métrage abonde en références littéraires – Moby Dick bien sûr -, et en références picturales.

A l’inverse des Hommes de la baleine, cette suite est presque intégralement illustrée par un corpus d’œuvres d’art, dans son ensemble très varié, qui témoigne de l’évolution et de l’internationalisation de la chasse à la baleine à travers l’Histoire. Ces œuvres, japonaises, européennes ou américaines offrent une représentation esthétique du génie de l’homme qui a su redoubler d’ingéniosité technique pour mettre à mort ces gigantesques mammifères marins. La chasse à la baleine accède ainsi à un niveau symbolique et révèle la volonté de puissance de l’homme. Conquête du monde, impérialisme, colonialisme : la baleine devient l’allégorie de la folie des grandeurs de l’Humanité. Très acide, le texte de Chris Marker, non sans une pointe d’amertume, n’épargne rien, même pas le cinéma : « Vous êtiez une nourriture. Vous êtes devenues une industrie. Comme le cinéma ! Et à vous non plus, ça n’a pas réussi. » Ce genre de pique prouve bien que le discours de Marker va bien au-delà de la chasse à la baleine. Il s’attaque au cynisme des puissants qui n’hésitent pas à sacrifier l’équilibre de la nature à des fins économiques, il pointe du doigt un monde qui s’industrialise au point d’en perdre la raison, il s’attaque à l’embourgeoisement de l’art, lorsque celui ne sert qu’à flatter l’orgueil des hommes : « Pour les Hollandais, vous n’étiez qu’une ressource. Mais plus encore : une gloire. Savez-vous que les riches amateurs emmenaient sur leurs bateaux des peintres pour prendre sur le vif des scènes de chasse, qui plus tard, orneraient leur salon ? »

Le commentaire, qui multiplie les jeux de mots et les piques humoristiques, n’est pas sans évoquer la cinécriture d’Agnès Varda qui se plait elle aussi à écrire des textes rythmés, aux références abondantes et aux sonorités très marquées pour illustrer ses documentaires. Le texte est riche, peut-être trop, et s’égare parfois dans un humour sardonique qui aujourd’hui paraît quelque peu démodé.

En revanche, la conclusion implacable et très markerienne conserve tout son impact : « Pendant des siècles , les hommes et les baleines ont appartenu à deux camps ennemis qui s’affrontaient sur un terrain neutre : la Nature. Aujourd’hui, la Nature n’est plus neutre. La frontière s’est déplacée. L’affrontement se fait entre ceux qui se défendent, en défendant la Nature, et ceux qui la détruisant, se détruisent. Cette fois, les hommes et les baleines sont dans le même camp. Et chaque baleine qui meurt nous lègue comme une prophétie l’image de notre propre mort. » Ce basculement est illustré, non plus par des œuvres du passé, ni même par des extraits des Hommes de la baleine, mais par des images documentaires crues qui exposent toute la cruauté et la barbarie de la chasse au lance-harpon : l’océan se transforme en un écœurant flot de sang, la baleine paraît d’une vulnérabilité déconcertante à côté des immenses navires japonais. Le court métrage se clôt sur la représentation d’une déshumanisation désespérante.

Comme toujours dans les films de Chris Marker, le montage et l’association du texte et de l’image sont d’une grande efficacité. Même si Mario Ruspoli est crédité à la réalisation et à l’image, Vive la baleine porte surtout l’empreinte du savoir-faire de Chris Marker. Mieux que quiconque, il sait dramatiser les images fixes et leur donner du mouvement. De même, son texte demeure une composante essentielle de ce court métrage. Il est difficile d’évaluer l’impact qu’a eu Mario Ruspoli sur ce court métrage. Son style, influencé par l’ethnographisme, ressortait de manière bien plus évidente dans le court métrage de 1956. Vive la baleine ne se caractérise pas par une démarche anthropologique. L’homme est toujours montré à distance, il n’a pas droit à la parole. C’est la baleine qui est l’héroïne de cette histoire tragique, même si en filigrane se dessine une évolution des techniques et des rapports de l’homme avec la nature. Vive la baleine est un documentaire politique et militant qui cherche à dénoncer. Et il le fait de manière convaincante.
Par François Giraud – le 11 février 2014

Ghost Cat: Postcards + Exhibitions

cm-postcard-cimitiere-chat

Card 5 of 15
Roma, 1956

Chris Marker, Image from Staring Back
May 12-August 12, 2007
Exhibition organized by the Wexner Center for the Arts, the Ohio State University

FYI, there are two postcard sets by Chris Marker that I know of. This set is from Wexner and is, I believe, out of print.

The other is Chris Marker, How a grinning cat visits the HISTORY OF ART, 10 Postcards, Peter Blum Editions. This production, to my knowledge, is also no longer available. I’ll see if I can get them into a gallery here soon, as they are replete with classic Markerian wit and digital détournement.

While the cards are not to be found on the Peter Blum site (peterblumgallery.com), it is well worth exploring the whole Chris Marker section, which includes Images, Exhibitions, Books, Press and Biography pages – the last containing a filmography, bibliographies, exhibition lists and more. The Biography section includes an exhaustive listing of Chris Marker exhibitions that I have yet to see appear on traditional filmographies or bibliographies:

SELECTED SOLO EXHIBITIONS

2014

“Koreans”, Peter Blum Gallery, New York

“Crow’s Eye View: the Korean Peninsula”, Korean Pavilion, Giardini di Castello, Venice, Italy

“Chris Marker: A Grin Without a Cat”, Whitechapel Gallery, London, England; Kunstnernes Hus, Oslo, October 21, 2014 – January 11, 2015; Lunds Konsthall, Lund, February 7 – April 5, 2015

“The Hollow Men,” City Gallery Wellington, Wellington, New Zealand

2013

“Chris Marker: Guillaume-en-Égypte”, MIT List Visual Arts Center, Cambridge, MA & the Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA

“Memory of a Certain Time”, ScotiaBank, Toronto, Canada

“Chris Marker”, Atelier Hermès, Seoul, South Korea

The “Planète Marker”, Centre de Pompidou, Paris

2012

“Chris Marker: Films and Photos”, Moscow Photobiennale, Moscow, Russia

2011

“PASSENGERS”, Peter Blum Gallery Chelsea / Peter Blum Gallery Soho, New York, New York

Les Rencontres d’Arles de la Photographie, Arles, France

“PASSENGERS”, Centre de la Photographie, Geneva, Switzerland

Thinking Hands, Beijing, China

2009

“Quelle heure est-elle?”, Peter Blum Gallery Chelsea, New York, New York

“Second Life” (May 16 a one night event), Harvard Film Archive, Cambridge, Massachusetts

“Chris Marker: Par quatre chemins”, Beirut Art Center, Lebanon

2008

“Abschied vom Kino / Farewell to Movies”, Museum fur Gegenwartkunst, Zurich, Switzerland

“Abschied vom Kino / A Farewell to Movies”, virtual museum, Second Life

Un Choix de Photographies, Galerie de France, Paris, France

2007

“Staring Back,” Peter Blum Gallery, New York, New York

“Staring Back”, Wexner Center for the Arts, Ohio State University, Columbus, Ohio

“The Case of the Grinning Cat”, Film Forum, New York, New York

“Owls at Noon Prelude: The Hollow Men”, Institute of Modern Art, Brisbane, Australia

2006

“The Hollow Men,” Dazibao Centre de Photographies Actuelles, Montreal, Canada

“The Hollow Men”,Prefix Institute of Contemporary Art, Toronto, Canada

2005

“Owls at Noon Prelude: The Hollow Men”, The Museum of Modern Art, New York, New York

“Through the Eyes of Chris Marker”, Hong Kong Arts Centre, Hong Kong, China

“Through the Eyes of Chris Marker”, Macao Cultural Centre, Macao, China

2003

“Rare Videos by Chris Marker,” Anthology Film Archives, New York, New York

2002

“Chris Marker”, The Douglas Hyde Gallery, Trinity College, Dublin, Ireland

1999

“Silent Movie and Selected Screenings”,Beaconsfield, London, England

“Chris Marker”, Centro Andaluz de Arte Contemporáneo, Seville, Spain

“Chris Marker”, Fundació Antoni Tàpies, Barcelona, Spain

1997

“Immemory One,” Centre Georges Pompidou, Paris, France

1996

“Silent Movie,” Walker Art Center, Minneapolis, Minnesota

1995

“Silent Movie”, Wexner Center for the Arts, Ohio State University, Columbus, Ohio

“Silent Movie”, The Museum of Modern Art, New York, New York

“Silent Movie”, Pacific Film Archive, Berkeley, California

Peter Blum Gallery, Chris Marker, Exhibitions – Download PDF

Guillaume, Guillaume, Guillaume…

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

guillaume-SL

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…

Jim Jarmusch Met Chris Marker

Jim Jarmusch Chris Marker echo

From: truthandmovies.tumblr.com

JIM JARMUSCH ON THE TIME HE MET CHRIS MARKER

There were a lot of things that I couldn’t fit into my recent interview with Jim Jarmusch (which you can read at The Guardian). This is one of them.

“I had a great chance to meet Chris Marker, once. I got to go outside of Paris, he was in a little editing room in it, I think? And this guy Anatole Dauman was a big producer, and he said ‘I pay for Chris to have this little editing room, would you like to go visit him, he would love it.’ And I said, ‘Yeah!’. And I went there, not with this guy, and Chris Marker was in a room about the size of this booth, and he was editing, and he was starting to work in video, early video.

So he took a camera and he filmed me for a while, and he had all these trims in a bin, and he said ‘This is a film project I’m working on, but I don’t touch it, because look inside.’ And inside the bin was a mother cat with her little newborn babies, and he said ‘I leave them alone, they are a priority. So now I work on the video until she takes them out and then I can go back to the film project.’

He was strange and particular and so nice. It was fantastic.”
David Ehrlich

Amitié

chris marker photograph aka sandor krasna

Sandor Krasna, Flikr
Amitié | Friendship with the animal kingdom, arguably the source, along with music, of emotional connection in all of Chris Marker’s creations.

For Marker, ‘things that quicken the heart’ always include revered animals, along with music. These are sources of the emotional connection in Chris Marker’s creations, a connection which parallels at a deeper level the intellectual activity of resolving word and image. Emotional emblematics works on the subliminal level so that our minds are expanded while the heart is opened; this emotional symphonics is often only consciously realized later, in the wake of viewing — in the absorption phase. The question has lingered for decades: why do we feel the way we do after watching a Chris Marker film? An image such as this that I call here “Amitié” or “Friendship” specifically with animals may be a clue, an essai… to uncover discover reveal appeal to the emotional power, very unsung, in his films, and alive too, quite alive in his photography as well. With great friendship comes the possibility of great loss. We felt that … we sure did …

The Third Cat

THE THIRD CAT from gorrr aka. Mosmax on Vimeo.

Dedicated to Guillaume-en-Egypte and thanks to Chris.Marker
Machinima by Max Moswitzer
3D Guillaume created by Exosius Woolley
Screening at Centre Pompidou on 2. November 2010, Estoril Film Festival on 9. November 2010.

Reference: "The Third Man is a 1949 British film noir, directed by Carol Reed and starring Joseph Cotten, Alida Valli, Orson Welles and Trevor Howard. It is particularly remembered for its atmospheric cinematography, performances, and musical score, and it is considered one of the greatest films of all time. The screenplay was written by novelist Graham Greene, who subsequently published the novella of the same name (which he had originally written as a preparation for the screenplay). Anton Karas wrote and performed the score, which used only the zither; its title music “The Third Man Theme” topped the international music charts in 1950." { Wikipedia }

The Cat Wants His Grin Back / Les Chats ne sont plus perchés

THE CAT WANTS HIS GRIN BACK (LES CHATS NE SONT PLUS PERCHES) from Fabi Dapi on Vimeo.

Another offering at the temple of homages chez chrismarker.tumblr.com, courtesy Cinémathèque française. Full screen recommended.

July 29th, 2012. A man crosses the zone. A mysterious street painter with paws without claws, prints in the city, this passage in the offspring. So, let’s talk about Chris Marker.

A short documentary by Céline Balandard & Fabien Dapvril.

with the voice of Vincent Remoissenet.

Produced by Tepaklap.
Written by Céline Balandard.
Camera & Editing by Fabien Dapvril.

Translation by Khalil El Bazi & his father, Alison Wightman & Elodie Doudoux.
Special thanks to Laurent Bailly, Pauline Bouyer, Adrien Danielou, Angélique Démaret, François Duboux, Florian Du Pasquier, Bénédicte Favre, Vincent Hémar, Anthony Jade, Anaïs Meuzeret, Audrey Philippon, Ugo Zanutto.

© 2013

The Protest of the Grinning Cat

mchat-gravatarThere’s an homage video up on Vimeo that might interest Chris Marker fans. Take a look here:
The Protest of the Grinning Cat – In honor of “The Case of the Grinning Cat by M.Chat.Veuille

Here’s a summary of the video:

In 2006, May 1 was chosen by mostly Latino immigrant groups in the United States as the day for the Great American Boycott , a general strike of undocumented immigrant workers and supporters to protest HR 4437, immigration reform legislation which they felt was draconian. From April 10 to May 1 of that year, millions of immigrant families in the US called for immigrant rights, workers rights and amnesty for undocumented workers.
Credits film:
Peter & Nazzy Scarlet, Seifollah Samadian, Sara Zandieh & Monsieur Chat
A film by S.Samadian
Dedicated to Chris Marker
remixed by Collectif CHAT
May 2006 / New York

M.CHAT.VEUILLE has 30+ other videos online at Vimeo. You can view his archive here.

Thanks to Lo Chien on Facebook’s Chris Marker page for the heads-up.

Stream The Case of the Grinning Cat via Amazon

An Owl is an Owl is an Owl

From Chris Marker’s collection Bestiaire aka Petit Bestiaire (1990), consisting of three ‘video haikus’:
Chat écoutant la musique – 2:47 min, color, sound
An Owl is an Owl is an Owl – 3:18 min, color, sound
Zoo Piece – 2:42 min, color, sound

2012 Year of the Dragon

2012 Year of the Dragon - Chris Marker + Guillaume

The tradition continues. Last year—it seems like yesterday—we received the Year of the Cat virtual postcard, with the Wikileaks theme. In 2010, it was the Year of the Tiger, as the beast came after a fleeing flying Guillaume, with the tagline “Best Wishes, Considering.” In 2009, it was a crocodile surfacing from a drowned future Copenhagen of 3009 and the failure to deal with global warming, with Guillaume flying by in a mini time-travel ship. This year to come, the message is Occupy, with Guillaume sitting firmly on the tail of the dragon. The email subject line, by the way: OCCUPY THE WORLD!

We see these as part of the long history of emblems, visual crystallizations of concepts. Marker’s wry humor, political ire and digital composition skills create a personal greeting combined with a global summary of the Situation. We’re glad Guillaume doesn’t have to be wikiproofed or on the run in 2012. He’s holding his ground, as many are (even the girl with the dragon tattoo, which has walked off her back and on to this enigmatic rock against the apocalyptic sky).