A video essay by Luís Azevedo using the words filmmaker Chris Marker spoke about himself to tell his story. For the accompanying text, visit the Notebook: mubi.io/2utLQvM. In 1958, after watching LETTRE DE SIBÉRIE (1957), André Bazin wrote that Marker’s first feature film resembles nothing hitherto seen in documentary films: “The important word is ‘essay,’ understood in the same sense that it has in literature – an essay at once historical and political, written by...
In celebration of the collective hope that many felt today as we came to learn that our nefarious, narcissistic, lying and self-absorbed President was finally to be sent packing, I worked on a page that assembles 50 posts at a time, with another 50 upon refresh, using the superpowers of Elementor, the rising star in WordPress page builders. So please navigate to All Posts and you may find something of interest that has previously eluded you, as there are many...
A long time ago, we received a bundle of texts from the computer scientist and CM researcher DK: an online trove, practically a Passagenwerk for the preparation of Marker's work on Greece. It was and has remained a collection of quotes and notes that went into the organization of the vast investigation of the cultural, mythological, and philological legacy of Greece that comprises Chris Marker's The Owl's Legacy / L'Héritage de la chouette. It is unlikely to have...
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
Some Chris Marker news, video and views that have come to light of late... These include the republication of Marker's masterful 1959 book Coréennes; a trailer from the Centre Pompidou's 2013 retrospective, featuring a parade of elephants; and finally, a stunning collection of photographs of the Cinémathèque française 2018 Chris Marker Exhibition design — giving a sense of the visitor experience via photos of the spatial design, signage and viewing spaces.
Happy Holidays.
"Although the use of drawings, photographs, or other still images within a film became more common with the films of Jean-Luc Godard in the mid-1960s, the use of animated techniques was still rather rare for this period. Chris Marker’s use of animation techniques was therefore rather unique for an art film of this time. The lack of discussion of animation within Marker’s works, then, is a curious omission."
À la suite de la projection des films On vous parle de Prague : Le Deuxième procès d'Artur London et Mémoires pour Simone, Costa-Gavras évoque ses souvenirs de Chris Marker, dont il était très proche.
Exposition Chris Marker – Marina Vlady from La Cinémathèque française on Vimeo. « Chris Marker aimait beaucoup les cinéastes russes, notamment Andreï Tarkovski, dont il était l'admirateur et l'ami, et qu'il a filmé chez moi, dans les derniers jours de sa vie. Il lui a d'ailleurs permis de finir son dernier film, Le Sacrifice : c'est lui qui a apporté toute la technique chez moi, pour que Tarkovski puisse finir le montage. » Retour en...
We have been following with appreciation the podcasts of France Culture on the occasion of the phenomenal Sept Vies d'un Cinéaste exhibition/retrospective, conversations that touch on Chris Marker's life, friendships and wisdom in a way that the written word has a harder time achieving – the Costa-Gavras conversation is exemplary in this regard. There is an intimacy to the spoken voice that comes through vividly, and the questions posed by Albane Penaranda are...
The image below from Marker's Staring Back photo collection book was posted to the Chris Marker Facebook page today by Ben McGill. Marker getting the not welcome please cease and desist moves by the US military police… Neither the image nor the film have lost their significance, to say the least, as the resistance to power renews itself after a short nap of reason (that of course produced monsters). As Ben aptly notes, “Perhaps the best place to hide is in...
