Chris Marker
Notes on Sans Soleil
1 “I’ve been around the world several times, and now only banality still interests me.” At the beginning of Chris Marker’s Sans soleil (1983), a
Welcome to Issue 64 of our journal
He seemed immortal, Chris Marker. For so long the basic empirical data of his life – his name, date and place of birth, his private
My Letter from Siberia
I went with my close friends Steve Miller and Nancy Corwin, sometime in the autumn of 1969 (when I was twenty-three), to see Chris Marker’s
Séance “C.M.”
“Like the white swan’s eye to bear the director’s desire…” - Anonymous (1) I. La jetée and L’année dernière à Marienbad… “Death, where is your
Statues Also Die, or Schroedinger’s Black Cat
As comprehensive analysis of the institutional mechanisms of museologics, Les statues meurent aussi’s (Statues Also Die, 1953) prime contention is, in effect, that anthropology and
The Cats in the Hats Come Back; or “at least they’ll see the cats”: Pussycat Poetics and the Work of Chris Marker
For Guillaume-en-Egypte, Polly and Chris This is a slightly revised version of a paper presented at a symposium devoted to Chris Marker in the late
Chris Marker: Film as Geopolitical Enlightenment
There are few enough artists or critics who have, by sheer force of imagination, been able to transform the way thousands understand and appreciate an
Montage as Resonance: Chris Marker and the Dialectical Image
Shortly into the second part of Chris Marker’s epic 1977 compilation film Le Fond de l’air est rouge, one of the great acts of montage
Marker, Resnais, Varda: Remembering the Left Bank Group
Too often overshadowed by the fame of the Nouvelle Vague, Robert Farmer gives due attention to the concurrent ‘wave’ known as the Left Bank Group
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