Category Archives: Citation

Another Villeneuve

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. Le compartiment est une salle de projection, là où le défilement du paysage croise une œuvre aussi singulière que nécessaire. Le trajet se découpe en deux temps. Le voyage est éternel.

Excerpt From: Johanne Villeneuve. “Chris Marker.” iBooks. https://itun.es/us/dVEAJ.l [also available as kindle book]

The essay proposed here takes on the game of the enterprise [company, club, society] of images. It proposes the invention of a round trip through (the landscape of) Chris Marker. We are on board a train: the images stretch out to the rhythm of the machine; they evoque other images, thoughts and memories. Let us say, as utopianists, that we are in possession at will of all the images of Marker and of their commentaries – a thing apparently utopian not least as the filmmaker himself contributed to the difficulty of assembling them. The compartment is a film theatre, there where the stretch of the landscape crosses a body of work as singular as necessary. The trajectory divides itself into two times. The trip is everlasting.

Le train en marche - Alexandre Medvedkin

Colin MacCabe Visits the Atelier

Chris Marker studio door

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 stutter out my message. “I am in Paris and I have a VHS copy of a film called The Magic Face and…” The receiver was picked up (I learned later that Chris screened all his calls) and a very human voice said, “You are the Messiah”. I have never been more startled by any single sentence addressed to me.

If I was the Messiah then John the Baptist was Tom Luddy. It was a few days earlier that I had seen Tom in Berkeley and asked him if he could get me an introduction to Marker. “I have the perfect calling card”, he said. “Chris has been looking for a copy of a film called The Magic Face for 50 years and I have just found a poor VHS copy. Here – deliver it.” And deliver it I now did. Marker said that he would be in the Latin Quarter, where I was living, the next Tuesday but his enthusiasm for the film was so overpowering that I insisted that I would bring it immediately to him. His instructions were both precise and disorienting. I had to go to a Metro station I had never heard of, cross under a disused railway I had never seen, walk down a narrow street, the rue Courat, find a huge house with an array of bells and names. Then I was to choose the bell without any name and ring three times.

The Metro was Maraichers and over the next decade I was to come to know it and that part of the 20th arrondissement well. No tourist has ever set foot there and it corresponds to none of the conventional pictures of Paris but with its completely mixed and relatively poor population it is as good an image of contemporary France profonde as you can find. But that first day it was terra incognita. As I stood at the door of the house I wondered if I had wandered into a parallel universe.

Of course I had and in time I would feel at home there. But, for now, I felt extremely uncomfortable and slightly terrified as I waited for the door to open. Everybody knew Marker’s name (although Marker wasn’t his real name) but unlike almost any other twentieth century name there was no accompanying image. I had no idea what to expect. Suddenly, bounding down the steps came what at very first impression was a huge and agile monkey. Indeed I wouldn’t have been surprised if there had been a long and bushy tail to go with the completely bald head. Certainly he bounded back up the stairs with long agile leaps leaving me, thirty years his junior, toiling in his wake.

And then we were in his studio …
Colin MacCabe, www.orbooks.com

Colin MacCabe is a British academic, writer and film producer. He has published books on a variety of subjects, including Jean Luc Godard, James Joyce and T.S. Eliot, and has produced many films, among them Young Soul Rebels, Seasons in Quincy, and Caravaggio. He is currently distinguished professor of English and film at the University of Pittsburgh.

For a rare interview of Marker by MacCabe, see 80:81 Chris Marker Speaks with Colin MacCabe.

For pre-orders and additional information on the book and its three authors, navigate to OR Books | Studio: Remembering Chris Marker.

For more information on the forthcoming book Studio by OR Books, of which the MacCabe remembrance is an excerpt, see our initial post Studio: A Remembrance of Chris Marker – Bartos, McCabe, Lerner.

10:04 | 4001

FYI, Ben Lerner’s novel 10:04, which I had the pleasure of reading this year, is a fantastic novel. Lerner contributes the Introduction to Studio. Some things are definitely worth waiting for, down to the minute. It strikes me now that 10:04 reversed is 4001, the year of perfect memory in Sans Soleil:

He hasn’t come from another planet he comes from our future, four thousand and one: the time when the human brain has reached the era of full employment. Everything works to perfection, all that we allow to slumber, including memory. Logical consequence: total recall is memory anesthetized. After so many stories of men who had lost their memory, here is the story of one who has lost forgetting, and who—through some peculiarity of his nature—instead of drawing pride from the fact and scorning mankind of the past and its shadows, turned to it first with curiosity and then with compassion. In the world he comes from, to call forth a vision, to be moved by a portrait, to tremble at the sound of music, can only be signs of a long and painful pre-history. He wants to understand. He feels these infirmities of time like an injustice, and he reacts to that injustice like Ché Guevara, like the youth of the sixties, with indignation. He is a Third Worlder of time. The idea that unhappiness had existed in his planet’s past is as unbearable to him as to them the existence of poverty in their present.

[…]

As we await the year four thousand and one and its total recall, that’s what the oracles we take out of their long hexagonal boxes at new year may offer us: a little more power over that memory that runs from camp to camp—like Joan of Arc. That a short wave announcement from Hong Kong radio picked up on a Cape Verde island projects to Tokyo, and that the memory of a precise color in the street bounces back on another country, another distance, another music, endlessly.

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 memoir.TheGlobeandMail.com

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”, medium.com/@katierosepipkin/ Go to Medium to read the full text, merely excerpted above…

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 Bpi.dailymotion.com/video | Centre Pompidou channel

Johan van der Keuken on Free Composition

Johan van der Keuken

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 standing within the world. Maybe that also explains the appeal of his films. His films are all spaces in which you can wander, which envelop you, which stick with you and are hard to shake off.

He quotes van der Keuken on the tightrope walk of free composition, a method that creates associative rhizomes between heterogenous materials in an essay film. Editing creates a kind of connective tissue and prismatic relationship between places, topics, images, words. The inner connections are joined by the film’s outer connection, its placement within a triptych focusing on North-South political & economic disparities, within the system of production/labor that van der Keuken calls ‘the conveyor belt’. Van der Keuken’s White Castle forms the second part of his North-South triptych: Dagboek / Diary, 1972; Het witte kasteel / The White Castle, 1973; and De nieuwe ijstijd / The New Ice Age, 1974.

I think it’s fascinating to build within a free form, but a classical form needs to underlie it. The paradox is that if you want to make a free composition, you have to proceed in a stricter way than you would in a conventional film. You namely have to make it plausible to implicate certain things which don’t seem to have anything to do with each other at a first glance. It is my task to prove that, for the duration of the film, they do have something to do with one another. I propose that everything goes with everything, but everything doesn’t go with everything beforehand, but only after modification. Everything only goes with everything if you think about it carefully.
Johan van der Keuken, quoted Gerard-Jan Claes, In Search of the White Castle, sabzian.be

van der Keuken collage

Image courtesy Sabzian

William Gibson on La Jetée

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 about it earlier, in passing, in works about science fiction cinema, but I doubt I had much sense of what it might be. And indeed, nothing I had read or seen had prepared me for it. Or perhaps everything had, which is essentially the same thing.

I can’t remember another single work of art ever having had that immediate and powerful an impact, which of course makes the experience quite impossible to describe. As I experienced it, I think, it drove me, as RD Laing had it, out of my wretched mind. I left the lecture hall where it had been screened in an altered state, profoundly alone. I do know that I knew immediately that my sense of what science fiction could be had been permanently altered.

Part of what I find remarkable about this memory today was the temporally hermetic nature of the experience. I saw it, yet was effectively unable to see it again. It would be over a decade before I would happen to see it again, on television, its screening a rare event. Seeing a short foreign film, then, could be the equivalent of seeing a UFO, the experience surviving only as memory. The world of cultural artefacts was only atemporal in theory then, not yet literally and instantly atemporal. Carrying the memory of that screening’s intensity for a decade after has become a touchstone for me. What would have happened had I been able to rewind? Had been able to rent or otherwise access a copy? It was as though I had witnessed a Mystery, and I could only remember that when something finally moved – and I realised that I had been breathlessly watching a sequence of still images – I very nearly screamed.William Gibson

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

Indecipherable

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 relation to sufferings past and yet to come. Sans Soleil’s acute scrutinisation of the banal does indeed reveal unexpected horrors and excesses that bespeak not a single monumental historic event but countless unique injustices and sorrows and their everlasting reverberations.
Nadine Boljkovac, Untimely Affects

Nadine’s book is to be re-released in paperback on June 1, 2015: Untimely Affects: Gilles Deleuze and an Ethics of Cinema [Plateaus – New Directions in Deleuze Studies]