Chris Marker: Memories of the Future

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However, three weeks after it came out in early August, sales took off. It turned out that since the book weighed exactly one kilogram, people were simply using it as a weight, as the usual copper weights had disappeared to be sold on the black market or melted down to make ammunition. When the cat was away, Lamb had been known to remark, the mice started farting about with notions of democratic freedom.

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Then the cat returned in a tank. Or the police.

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This single line of the Aeneid sounded several times in my mind while I was writing the previous sentences. I believe the English equivalent of the Latin to be: The stars had now been put to flight, and the dawn was reddening. Marker discusses cinema with technical confidence and a lucid, inclusive conception of its nature and relationship to the other arts. In the s, after directing the short documentary Statues Also Die with Alain Resnais, Chris Marker traveled the world from Europe to Asia, to Latin America and Africa, experimenting with various modes of expression that largely surpassed the common confines of cinema.

The Image of Happiness (Sans Soleil by Chris Marker, 1983)

Marker hated being classified in commonsensical categories, and never explained his own work. Nevertheless, one can identify several common threads in his films selected for this program.

The first would be the act of traveling to a place, sympathizing with the people there, and supporting their struggles against authority through film production. The Sixth Side of the Pentagon —which records a demonstration against the Vietnam War—and the omnibus film Far from Vietnam are clear expressions of the antiwar movement. The long-form Grin Without a Cat , released in , could be said to be his opus in this regard.

Marker was consistent in his concern for cinema as a technology of memory.