Chris Marker Notes from the Era of Imperfect Memory

CategoryTheoretical

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...

Palimpsest City

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paris stadtplan benjamin film

Couldn't an exciting film be made from the map of Paris? From the unfolding of its various aspects in temporal succession? From the compression of a centuries-long movement of streets, boulevards, arcades, and squares into the space of half an hour? And does the flaneur do anything different?
– Walter Benjamin, Passagenwerk | The Arcades Project

Schreiben Bilder Sprechen

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“Schon Alexandre Astrucs Vision von der Caméra-Stylo liegt der Gadanke zugrunde, Bilder schreiben zu können.”– Christa Blümlinger Schreiben Bilder Sprechen: Texte zum essayistischen Film Hrsg. Christa Blümlinger und Constantin WulffWein: Sonderzahl, 1992 CONTENTS: I. Versuch als Form Christa Blümlinger: Zwischen den Bilder/LesenBirgit Kämper: Sans Soleil – “ein Film erinnert sich selbst”Raymond Bellour: Zwischen Sehen und Verstehen...

cogdis

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“Il y a une énergie propre aux mots et une énergie propre aux images. Si vous les mêlez, elles se dévorent l’une l’autre, elles s’annulent.”
Jean Baudrillard, Cool Memories II [37]
“Sur les deux faces temporelles, l’essai travaille en regard de l’absence, dans le souvenir ou l’anticipation de la perte.”
Jean Starobinski

Chris Marker Notes from the Era of Imperfect Memory

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