Chris Marker Notes from the Era of Imperfect Memory

CategoryTheoretical

Jean-Pierre Gorin reflects the mirror house of Sans Soleil

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wounded time sans soleil cleaned

From describing visits to Krazy Katovich Chris Marker's atelier to a wide-ranging, associative reflection on Sans Soleil, Jean-Pierre Gorin travels through the cuts, sequences, illusions, allusions, sign-systems, methodology, non-methodology, historical moments from Sei Shōnagon to Rousseau to the very present NOW of a baby Martian girl learning the rituals of this planet.

Hillary Radner & Alistair Fox publish Raymond Bellour: Cinema and the Moving Image

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Raymond Bellour, while one of the most influential early theorists of cinema and the moving image, remains less well known among contemporary film scholars than he should be, even though he has exerted a formative influence on the field at large. One reason for this neglect is that his work is scattered across a myriad of essays published in French, the majority of which have not been translated into English.

L’essai : vues d’Allemagne, la fabrique documentaire

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L'essai : vues d'Allemagne from la fabrique documentaire on Vimeo. This essay film on ‘views’ of the essay film in Germany begins with the unmistakable, raspy and wise voice of Gilles Deleuze, and quickly launches into a rapid montage of moments of meta, showing and letting the showing speak, while adding voices but not an authorial voice per se, rather quoted voices – just as cinematic citation pulls clips out of context so does the...

André Bazin on Chris Marker (1958)

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Trans. Dave Kehr, © Cahiers du Cinéma, published in Film Comment, 2003. Chris Marker, as you may remember, wrote the narration for Bibliothèque Nationale (Toute la mémoire du monde) and Statues Also Die (which the public still has only been able to see in a version cut to half its length by the censorship board). These incisive, powerful texts, in which cutting irony plays hide and seek with poetry, would be enough to secure their author a privileged place in the...

The Panoptic Exodus

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Jeremy Bentham, Panopticon, design by Willey Reveley The Building circular – an iron cage, glazed – a glass lantern about the size of Ranelagh – The Prisoners in their Cells, occupying the Circumference – The Officers, the Centre. By Blinds, and other contrivances, the Inspectors concealed from the observation of the Prisoners: hence the sentiment of a sort of invisible omnipresence. – The whole circuit reviewable with little, or, if necessary, without any, change...

The Crisis of Cognition by Rainer J. Hanshe

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We have just re-published Rainer J. Hanshe’s article, “The Crisis of Cognition: On Memory & Perception in Chris Marker’s The Hollow Men.” It is available here (as a page rather than a post). We would like to take this opportunity to thank Mr. Hanshe. The essay truly provides a wealth of inspired reflections, and it is an honor to be able to present this in-depth treatment of a more or less unknown and very recent work of Chris...

Yale Art Gallery Announces “Screencasts” Series

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We received this note from Bryne Rasmussen: I am very excited about this upcoming series, Screencasts, here at YUAG this fall. I thought fellow readers of your blog might like to know too. “The Face is A Politics: On Chris Marker’s ‘Staring Back'” Part of “Screencasts: Cinema as Medium in Contemporary Art” Thu Oct 30 2008 5:30 PM – 7:30 PM Yale University Art Gallery 1111 Chapel St. at York Street Vered Maimon, Northeastern...

Einmal ist keinmal

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repetition & difference :: spiral time :: the eternal return   P. K. Dick In Pursuit of VALIS Walter Benjamin liked the phrase einmal ist keinmal. Literally: one time is no times. Looser: once is not enough, or once is never. Let the subliminal rise to the surface of consciousness by grazing again through the text, the stream, the grain, and then again against the grain to feel the furrows of the patterns not picked up the first time. Viewing a film...

We are there, yet cut off…

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Marker is far less impressed by the camera’s neutrality or its ability to record things whole. He loves imagery, but does not trust it. His essential influences – Eisenstein and Dziga Vertov – are filmmakers who explored montage (or editing) as a stimulus to argument. Pictures come to life if we are looking, thinking, testing; they demand definition, not just awed witness. Above all, Mr. Marker sees that imagery has become a chief resort of our...

Chris Marker Notes from the Era of Imperfect Memory

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