Chris Marker Notes from the Era of Imperfect Memory

CategoryCitation

Another Villeneuve

A

L’essai proposé ici se prend au jeu de la compagnie des images. Il propose l’invention d’un aller-retour sur Chris Marker. Nous sommes à bord d’un train : les images défilent au rythme de la machine ; elles évoquent d’autres images, des pensées et des souvenirs. Disons, par utopisme, que l’on dispose à volonté de toutes les images de Marker et de leurs commentaires – chose apparemment utopique tant le cinéaste lui-même a contribué à la difficulté de les rassembler...

Colin MacCabe Visits the Atelier

C

Visiting rue Courat Colin MacCabe It was early 2002 and people still used answering machines rather than mobile phones. The recording clicked in and an extraordinary voice that sounded as if it had been mechanically produced asked the caller to leave a message “if you have something interesting or amusing to say”. I was already nervous that I was cold calling Chris Marker, legendary recluse and indeed general artistic legend. My anxiety intensified and I started to...

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

Y

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...

Guillaume, Guillaume, Guillaume…

G

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...

Pompidou Planète Marker Video Archive

P

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...

Johan van der Keuken on Free Composition

J

An excellent article on Johan van der Keuken’s The White Castle has been published on sabzian.be. The author is Gerard-Jan Claes, and the article In Search of the White Castle. Claes writes: Rather than talking about film as a language, van der Keuken understands it as a condition, an état or a state of being, as something which defies easy definition and which can rather be approached in terms of becoming and movement. It’s a space of experience, a way of...

William Gibson on La Jetée

W

“…nothing I had read or seen had prepared me for it. Or perhaps everything had, which is essentially the same thing.” – William Gibson From: ‘Thrilling and prophetic’: why film-maker Chris Marker’s radical images influenced so many artists – theguardian.com William Gibson, novelist I first saw La Jetée in a film history course at the University of British Columbia, in the early 1970s. I imagine that I would have read...

Jim Jarmusch Met Chris Marker

J

Jim Jarmusch From: truthandmovies.tumblr.com 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...

Indecipherable

I

For this encounter between thought and image, as staged throughout all films explored by these pages, also discovers particular significance via Sans Soleil. Unlike the films of this book’s earlier chapters that each emerge from a certain definitive horror – the Holocaust, Hiroshima, an atomic apocalypse – Sans Soleil marks a shift towards a more comprehensive, layered interrogation of both strangely familiar and indecipherable aspects of life that exist in...

Chris Marker Notes from the Era of Imperfect Memory

Recent Posts

Categories

Pin It on Pinterest