By Catherine Lupton
Chris Marker is among the so much amazing and influential film-makers of our time. In landmark movies reminiscent of Letter from Siberia (1958), los angeles Jetée (1962), Sans Soleil (1982) and point 5 (1996), he overturned the conventions of the cinema, confounding common differences among documentary and fiction, inner most and public issues, writing and visible recording, and the nonetheless and relocating snapshot. but those works are just the better-known parts of a protean occupation that up to now has spanned the second one half the 20 th century and encompassed writing, images, film-making, video, tv and the increasing box of electronic multimedia.
Catherine Lupton lines the advance and transformation of Marker’s paintings from the overdue Forties, whilst he started to paintings as a poet, novelist and critic for the French magazine Esprit, via to the Nineties, and the discharge of his newest works: the characteristic movie point 5 and the CD–ROM Immemory. She accommodates the old occasions, shifts and cultural contexts that the majority productively light up different levels of Marker’s profession. He sticks out as a unique determine whose paintings resists effortless assimilation into the mainstream of cultural and cinematic developments.
Marker’s oeuvre strikes in circles, with every one undertaking recycling and referring again to prior works and to a bunch of alternative followed texts, and proceeds in terms of indirect organization and lateral digression. This round circulation is supreme to taking pictures and mapping Marker’s abiding and consummate obsession: the varieties and operations of human reminiscence. Chris Marker: thoughts of the Future itself goals to seize whatever of this stream, in forming a complete research and evaluate of this contemporary master’s prolific and multi-faceted career.
Catherine Lupton is Senior Lecturer in movie stories at Roehampton University
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Additional info for Chris Marker: Memories of the Future
11 Klein was then a young American artist, who had returned to New York in 1954 after spending eight years in Paris studying with Fernand Léger and working as an abstract painter. Deciding to make a photographic record of his impressions of New York, and waywardly inspired to create an absurdist Dada ethnography of the raucous and teeming life of the city, Klein made a virtue of his complete lack of photographic training by cultivating a gleefully raw visual style marked by extreme light contrast, haphazard framing, blurred and thick-grained images and messy, confrontational compositions.
Marker was originally commissioned to make a film about African art by the organization Présence Africaine. 58 Marker invited Resnais, who was already known for his inventive documentaries on art, to collaborate on the project. Resnais is credited as editor, Marker wrote the commentary, and as co-directors they worked closely together on the scenario and overall shape of the film. Their approach led them beyond the aesthetic limits of their brief, to question the appropriateness of Western notions of art for understanding their subject, and to confront the negative impact of colonialism upon African art and the traditional ways of 35 life that had sustained it.
These included Aubervilliers (1945), directed by Eli Lothar, who had been the camera operator on Land Without Bread, Alain Resnais’ Van Gogh, Yannick Bellon’s Goémons (1948), Nicole Védrès’ popular compilation film Paris 1900 (1948), and George Franju’s Le Sang des bêtes (Blood of the Beasts, 1949) and Hôtel des Invalides (1952). Along with the veteran Painlevé, all these directors were among the founding members of the Group of Thirty. The precedent set by the early Surrealist-inspired documentaries helped to foster a critical climate in France that strongly valued evidence of a director’s attitude, sensibility and personal style in his or her approach to real-life subject matter.
Chris Marker: Memories of the Future by Catherine Lupton