Chris Marker Notes from the Era of Imperfect Memory

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Another Villeneuve

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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

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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...

Hommage à Chris Marker, la fabrique documentaire

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Hommage à Chris Marker 4/6 – "Marker photographe" from la fabrique documentaire on Vimeo.

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On Chris Marker
Chris Marker Filmography
Centre Pompidou Chris Marker Archive

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

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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…

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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

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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...

Johan van der Keuken on Free Composition

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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

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“…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

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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

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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...

The Unattainable Text by Raymond Bellour

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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...

Bellour + Beaujour on the Self-Portrait

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If we must finally find one word to describe what Odenbach makes, let us use ‘self-portrait’—as literary tradition conceived it, as it has been redefined by a certain auteur cinéma, and as today’s video permits in a clearer, more natural way. The self-portrait is this idiosyncratic literary genre whose logic has been described, and genealogy traced, in a book by Michel Beaujour. Unlike autobiography, which tells the story of a life, the self...

Appreciations

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Appreciations of Chris Marker Source: www.huffingtonpost.com, 2012 Chris Marker by Jean-Michel Folon, 1972 via Monika Dac “[La Jetee] was very possibly the greatest science-fiction movie yet made.” Critic Pauline Kael A political leftist free of didacticism, his works roam the world with curiosity, wit, and a poet’s nose for injustice. Ty Burr, Boston.com‘s Movie Nation His sprawling and constantly evolving body of work…was at once...

1962 Before and After

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On the question of retrospectives and his choice not to participate in or promote the projection of works preceding the year 1962 (Joli Mai and La Jetée), Chris Marker writes: Quand à mes propres films, je n’ai pas envie d’en dire grand’chose. Depuis longtemps je limite le choix des programmes qu’on a la bonté de me consacrer aux travaux d’après 1962, année du Joli mai et de La jetée, et comme cette préhistoire inclut des titres...

Chris Marker Commentaires : English Translation Coming

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I’m not sure of the publisher or publication date, but I learned today via the following essay of this project, which is a joy to contemplate. More as more is revealed, bien sûr, and heartfelt congratulations to Sergey Levchin, yet another longtime Chris Marker fan emerging with an essential project. Scanned copies of the out-of-print originals are available at the end of the post for download. Levchin’s article on the translation project was published...

Monika’s Text Photo – Le Coeur net

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Extract from Chris Marker, Le Coeur net, Paris, Ed. du Seuil, 1950, posted to Facebook by Marker aficionado Monika Dac. Thanks Monika! Rough translation… –It’s a little myth of my own… Look, you for example, you still belong to a world without limits, one that is more or less the world of childhood. Your words, your acts, everything comes out of you and dissipates. You can think as you choose, dream of whatever experience, imagine whatever...

Chris Marker Notes from the Era of Imperfect Memory

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