Browsing Tag

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

La Jetee

Welcome to Issue 64 of our journal

[caption id="attachment_12479" align="alignright" width="300" caption="La Jetee"][/caption] He seemed immortal, Chris Marker. For so long the basic empirical data of his life – his name, date

Letter From Siberia

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

Cat Listening to Music

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

The Sixth Side of the Pentagon

Chris Marker: Film as Geopolitical Enlightenment

[caption id="attachment_12363" align="alignright" width="300" caption="The Sixth Side of the Pentagon"][/caption] There are few enough artists or critics who have, by sheer force of imagination, been

Figure 4

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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