Chris Marker Notes from the Era of Imperfect Memory


We are there, yet cut off…


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

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


“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...



“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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