Journal articles: 'Chris Marker'

1

Marker, Chris. "Chris Marker; Filmmaker." Film Quarterly 52, no. 1 (1998): 66. http://dx.doi.org/10.2307/1213385.

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Marker, Chris. "Chris Marker; Filmmaker." Film Quarterly 52, no. 1 (October 1998): 66. http://dx.doi.org/10.1525/fq.1998.52.1.04a00340.

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Murat, Pierre. "Chris Marker, in memoriam." Médium 40, no. 3 (2014): 46. http://dx.doi.org/10.3917/mediu.040.0046.

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Pourvali, Bamchade. "Jeunesses de Chris Marker." Vertigo 46, no. 2 (2013): 7. http://dx.doi.org/10.3917/ver.046.0007.

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Ostor, Akos. ": Sans Soleil . Chris Marker." American Anthropologist 89, no. 4 (December 1987): 1022–23. http://dx.doi.org/10.1525/aa.1987.89.4.02a00940.

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Murray, Oswyn. "Erinnerungen an Chris Marker." Maske und Kothurn 63, no. 2-3 (December 13, 2017): 204–6. http://dx.doi.org/10.7767/mako.2017.63.2-3.204.

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Mayer, Oliver. "Sarah Cooper (2008) Chris Marker." Film-Philosophy 14, no. 1 (February 2010): 395–400. http://dx.doi.org/10.3366/film.2010.0025.

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Pimenta, Joana. "Sarah Cooper (2008) Chris Marker." Film-Philosophy 14, no. 1 (February 2010): 401–14. http://dx.doi.org/10.3366/film.2010.0026.

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9

Bujon, Anne-Lorraine, and Carole Desbarats. "Les engagements de Chris Marker." Esprit Mai, no. 5 (2018): 37. http://dx.doi.org/10.3917/espri.1805.0037.

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Matta and Chris Marker. "Chris Marker, Matta Zone, 1985." Chimères 36, no. 1 (1999): 85–92. http://dx.doi.org/10.3406/chime.1999.2278.

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11

Lamarche-Vadel, Gaëtane. "À contre-courant, Chris Marker." Multitudes 61, no. 4 (2015): 122. http://dx.doi.org/10.3917/mult.061.0122.

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12

Lecler, Romain. "Chris Marker, le sceau du secret." Genèses 98, no. 1 (2015): 131. http://dx.doi.org/10.3917/gen.098.0131.

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13

Fofi, Goffredo, and Alice Béja. "Chris Marker, poète des « essais cinématographiques »." Esprit Octobre, no. 10 (2012): 133. http://dx.doi.org/10.3917/espri.1210.0133.

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14

Lupton, Catherine. "Chris Marker: The Art of Memory." Film Studies 6, no. 1 (2005): 46–48. http://dx.doi.org/10.7227/fs.6.4.

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15

Amaral de Aguiar, Carolina. "Chris Marker: una mirada sobre Chile." Cinémas d’Amérique latine, no. 21 (December 1, 2013): 17–21. http://dx.doi.org/10.4000/cinelatino.102.

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Desbarats, Carole. "Le Meccano imaginaire de Chris Marker." Esprit Mai, no. 5 (2018): 77. http://dx.doi.org/10.3917/espri.1805.0077.

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17

Guzmán, Patricio. "Lo Que Debo a Chris Marker." Nuevo Texto Crítico 24, no. 1 (2011): 61–68. http://dx.doi.org/10.1353/ntc.2011.0022.

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18

Souza, Tainah Negreiros Oliveira de. "O cinema latino-americano de Chris Marker." Significação: Revista de Cultura Audiovisual 44, no. 47 (July 13, 2017): 298. http://dx.doi.org/10.11606/issn.2316-7114.sig.2017.131895.

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Este texto aponta os principais aspectos trabalhados no recém lançado livro O cinema latinoamericano de Chris Marker, de Carolina Amaral de Aguiar, buscando explicitar a relevância de sua pesquisa e os caminhos percorridos pela autora para tratar da relação do cineasta francês Chris Marker com os movimentos sociais na América Latina nos anos 1960 e 1970; relação essa que contribuiu para a concepção de uma parte significativa da filmografia do cineasta e também para a concepção de filmes na América Latina.

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Lupton, Catherine. "Imagine Another: Chris Marker as a Portraitist." Film Studies 6, no. 1 (2005): 74–80. http://dx.doi.org/10.7227/fs.6.8.

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Amaral de Aguiar, Carolina. "Chris Marker : un regard sur le Chili." Cinémas d’Amérique latine, no. 21 (December 1, 2013): 17–21. http://dx.doi.org/10.4000/cinelatino.93.

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21

Villeneuve, Johanne. "L’ordinateur de Chris Marker. Mélancolie et intermédialité." Protée 28, no. 3 (April 12, 2005): 7–12. http://dx.doi.org/10.7202/030599ar.

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Cet article est une contribution à la définition de l’intermédialité. Dans un premier temps, il décrit les médiations modernes d’après leur caractère paradoxal : le fait que l’effacement du médium soit compris, par exemple, comme le signe même de son efficacité. Dans ce contexte, on peut considérer l’intermédialité comme une certaine dramatisation du paradoxe de la médiation, au sens où l’intermédialité serait la figure de la médiation dans la médiation même. Dans un second temps, cet article se porte vers le film de Chris Marker, Level Five, qu’il désigne comme un locus où cette figure peut être déployée depuis la médiation des morts, la mélancolie et les catastrophes du XXe siècle – une mélancolie plus proche néanmoins des anciennes conceptions des humeurs (Aristote) que des ruines romantiques.

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22

MacCabe, Colin. "An interview with Chris Marker - October 2010." Critical Quarterly 55, no. 3 (October 2013): 84–87. http://dx.doi.org/10.1111/criq.12060.

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23

Hammoud, Nabil. "Le monde à écrire de Chris Marker." Les Lettres Romanes 73, no. 1-2 (January 2019): 255–75. http://dx.doi.org/10.1484/j.llr.5.118241.

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24

Cumings, Bruce. "Violet Ashes: A Tribute to Chris Marker." positions 23, no. 4 (November 2015): 729–42. http://dx.doi.org/10.1215/10679847-3148391.

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25

Busetta, Laura. "Chris Marker: A Grin Without a Cat (2014)." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 101–6. http://dx.doi.org/10.33178/alpha.8.08.

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26

Aguiar, Carolina Amaral de. "A Revolução Cubana nos documentários de Chris Marker." Estudos Históricos (Rio de Janeiro) 26, no. 51 (June 2013): 35–54. http://dx.doi.org/10.1590/s0103-21862013000100003.

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27

Chan, Paul. "The Cat and the Owl: Remembering Chris Marker." October 149 (July 2014): 181–91. http://dx.doi.org/10.1162/octo_a_00189.

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In October 2010, I emailed Chris to ask if he was interested in taking part in a special issue of E-flux Journal that art critic Sven Lütticken and I were editing. The issue focused on whether contemporary art had addressed the rise of right-wing populism in Europe, the US, and elsewhere, and how these largely nationalistic, homophobic, and xenophobic movements impacted culture and art. With the ascendance of the Tea Party, Sven and I wondered if it were possible to chart a genealogy of right-wing groups on both sides of the Atlantic and illuminate their familial relations.

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ffrench, Patrick. "The Immanent Ethnography of Chris Marker, Reader of Proust." Film Studies 6, no. 1 (2005): 87–96. http://dx.doi.org/10.7227/fs.6.10.

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29

du Mesnildot, Stéphane. "Notes de chevet sur le Japon de Chris Marker." Vertigo 46, no. 2 (2013): 50. http://dx.doi.org/10.3917/ver.046.0050.

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Lindroos, Kia. "Miksi patsaat itkevät? Chris Marker: aika, muisti ja elokuva." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 29, no. 4 (January 17, 2017): 72–79. http://dx.doi.org/10.23994/lk.60476.

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31

Chinski, Carla. "poesía de Chris Marker: la imagen occidental del ideograma." La Cifra Impar. Revista de estudios de audiovisuales, no. 1 (August 4, 2022): 40–65. http://dx.doi.org/10.58180/lci.1.2022.19.

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El presente trabajo apunta a investigar a Chris Marker en tanto que poeta y ensayista, en su relación con la cultura y la imagen de Oriente; en especial, su poesía y sistema de escritura. El trabajo se centrará en el análisis cinematográfico y literario de Dimanche à Pekin (1956) y Sans Soleil (1983). El análisis literario, por otra parte, será tomado en el sentido abordado por sus escritos de viaje en Coreénnes (2008) y Commentaires (1961). Se abordará no solo la perspectiva de la teoría del montaje aplicada a las teorías clásicas del orientalismo, sino también las formas de representación a partir de la poesía en este film. Por último, mostraremos cómo el supuesto teórico con el que Marker opera parte de teorías preexistentes sobre los signos poéticos y sobre el rol del ideograma en la poesía. Es por eso que la hipótesis subyacente será que la cinematografía de Chris Marker se encontró bajo la influencia, en el montaje y el tratamiento de la imagen, de la escritura ideogramática tradicional.

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32

Hetzel, Mechthild, and Andreas Hetzel. "The Distribution of Facts and Fictions." MedienJournal 37, no. 3 (March 20, 2017): 45–57. http://dx.doi.org/10.24989/medienjournal.v37i3.119.

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In our paper we discuss the political aesthetics of Jacques Rancière, specially his writings on the documentaries of the French director Chris Marker. In a first section we give an introduction to Rancière’s political philosophy, which explains political acts in terms of seizing the word by those who have no share in our societies. Such a seizing of words reconfigures the discursive regimes that decide who can say what and under what conditions publicly. In a second section we will show how Rancière’s aesthetical writings discuss works of art in a similar way as agents of a transfiguration of orders of visibility or sight. This becomes clear, as our third section will argue, in Rancière’s film aesthetics, especially in his essays on Chris Marker. Markers movies (for instance Le Tombeau d'Alexandre) focus on and at the same time complicate the boundaries between documentary and fiction; they allow us to understand a reality which is supposedly without alternatives as a result of human practice which always can be changed.

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Hetzel, Mechthild, and Andreas Hetzel. "The Distribution of Facts and Fictions." MedienJournal 37, no. 3 (March 20, 2017): 45. http://dx.doi.org/10.24989/mj.v37i3.119.

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In our paper we discuss the political aesthetics of Jacques Rancière, specially his writings on the documentaries of the French director Chris Marker. In a first section we give an introduction to Rancière’s political philosophy, which explains political acts in terms of seizing the word by those who have no share in our societies. Such a seizing of words reconfigures the discursive regimes that decide who can say what and under what conditions publicly. In a second section we will show how Rancière’s aesthetical writings discuss works of art in a similar way as agents of a transfiguration of orders of visibility or sight. This becomes clear, as our third section will argue, in Rancière’s film aesthetics, especially in his essays on Chris Marker. Markers movies (for instance Le Tombeau d'Alexandre) focus on and at the same time complicate the boundaries between documentary and fiction; they allow us to understand a reality which is supposedly without alternatives as a result of human practice which always can be changed.

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34

Parejo, Nekane. "La fotógrafa Denise Bellon: surrealismo, documentalismo y fotografía humanista." Liño 23, no. 23 (June 30, 2017): 139. http://dx.doi.org/10.17811/li.23.2017.139-146.

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RESUMEN:Entre 1920 y 1940 se desarrolla en Francia un movimiento fotográfico denominado Nouvelle Vision que acoge a un grupo de fotógrafas profesionales de este medio, entre ellas Denise Bellon. Las imágenes de esta autora, estrechamente vinculadas con los artistas de vanguardia, nos servirán para articular conexiones con aspectos relacionados con tres corrientes fotográficas patentes en su trayectoria: el surrealismo, la fotografía humanista y el documentalismo. Para lograr este propósito nos aproximaremos, por un lado, a los rasgos específicos de cada una de estas tendencias fotográficas y por otro, a la obra de Denise Bellon a través del ensayo fílmico Le Souvenir d´un avenir (Recuerdos del porvenir, 2001) donde Yannick Bellon, su hija y el cineasta Chris Marker orquestan una narración cronológica, en la que la imagen fija adquiere status de protagonista absoluta basándose en 25000 negativos registrados entre 1937 y 1956.PALABRAS CLAVE:Fotografía, Denise Bellon, Chris Marker, surrealismo, documentalismo.ABSTRACT:A photographic movement known as Nouvelle Vision that includes a group of professional photographers of this medium, including Denise Bellon, takes place in France between 1920 and 1940. The images of this author, closely associated with the avant-garde artists, will serve us to articulate connections with three photographic trends patents in its career: surrealism, humanistic and documentary photography. To achieve this purpose us approximations, on the one hand, to the specific features of these photographic trends and on the other hand, to the work of Denise Bellon through the film essay Le Souvenir d´un l’avenir (Memories of the Future, 2001) where Yannick Bellon, his daughter and the filmmaker Chris Marker orchestrate a chronological narrative, in which the fixed image acquired status of absolute protagonist based on 25000 negatives between 1937 and 1956.KEYWORDS:Photography, Denise Bellon, Chris Marker, surrealism, documentary.

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35

Poroger, Felipe Arrojo. "A ilusão do tempo em La Jetée, de Chris Marker." Humanidades em diálogo 9 (February 2, 2019): 221–27. http://dx.doi.org/10.11606/issn.1982-7547.hd.2019.154286.

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A partir das reflexões de Friedrich Nietzsche em O eterno retorno e Jorge Luís Borges em Nova refutação do tempo, propõe-se tecer uma leitura crítica do filme La Jetée, de Chris Marker, a fim de examinar como a sua dimensão temporal dialoga com o ideário dos dois autores citados. Mais do que posicionar a obra como devedora de certa linhagem teórica – embora isso seja inevitável –, objetiva-se encontrar os pontos de convergência e choque com as propostas nietzschianas e borgianas. Para tal, optou-se por segmentar o texto em três momentos: I) breve apresentação do conceito de eternoretorno, sua formulação e dimensão doutrinária, II) exposição do tema para Borges, a crítica aos mandamentos nietzschianos e abandono da concepção do tempo como instância dotada de sentido, III) reflexão sobre a estrutura temporal de LaJetée, a partir dos conceitos discutidos.

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Alves, Gabriela Santos. "Memórias de paz, imagens de guerra: La jetée, de Chris Marker." Dispositiva 5, no. 2 (August 17, 2016): 151–64. http://dx.doi.org/10.5752/p.2237-9967.2016v5n2p151-164.

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Filme quase exclusivamente composto por imagens estáticas, La jetée relata as experiências de um excombatente, agora prisioneiro em campos subterrâneos, depois da Terceira Guerra Mundial. Nele, Chris Marker investiga a relação do homem com a imagem e o desejo ligado à memória, proposta que guiará este artigo.

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37

Habib, André. "Impressions et figurations du visage dans quelques films de Chris Marker." Envisager, no. 8 (August 10, 2011): 153–71. http://dx.doi.org/10.7202/1005545ar.

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Le visage dans les œuvres de Chris Marker se présente comme l’objet d’une recherche sur l’image et sur la prégnance de la mémoire. Il est également le lieu d’un déchiffrement, s’offrant au regard tout en se dérobant sous des masques, entre les rets du temps. L’hypothèse de cet article est que le visage nous offre un fil de lecture pour aborder l’oeuvre de Marker : il y apparait comme une figure de médiation à part entière, qui en livre les promesses et les apories, les dissimulations et les instants de vérité.

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38

de Sousa e Silva, Alexsandro. "Carolina Amaral de Aguiar, O cinema latino-americano de Chris Marker." Cinémas d’Amérique latine, no. 25 (April 1, 2017): 179–81. http://dx.doi.org/10.4000/cinelatino.5800.

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de Sousa e Silva, Alexsandro. "Carolina Amaral de Aguiar, O cinema latino-americano de Chris Marker." Cinémas d’Amérique latine, no. 25 (April 1, 2017): 179–81. http://dx.doi.org/10.4000/cinelatino.5813.

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40

Magalhães, Elisa De. "Destempo." POIÉSIS 20, no. 34 (November 16, 2019): 327. http://dx.doi.org/10.22409/poiesis.v20i34.36376.

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O presente texto reflete sobre a fotografia como destempo, que tomo emprestado – palavra e sentido – do escritor João Guimarães Rosa. Rosa usa destempo no romance “Grande Sertão Veredas” e no conto “Sota e Barla”, do livro “Tutaméia”. Destempo é aqui pensado como ponto ou instante, mas com duração, mesmo que mínima, suficiente para dividir esse ponto/instante/destempo em arquivo e rastros fantasmais. Para discorrer sobre isso, a autora recorre à recente palestra de Serge Margel, na qual falou sobre o filme de Chris Marker, La Jetée, “Do spectrum ao speculum – La Jetée de Chris Marker e a montagem contrafactual”; e à entrevista de Jacques Derrida, “Copy, archive, signature: a conversation on photography”, relacionados à ideia de presentidade de Robert Morris. Para a autora, a fotografia produz o outro onde ele não está, no destempo do ponto ou do instante.

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41

Villeneuve, Johanne. "La fin d’un monde. À propos de Sans soleil, de Chris Marker 1." Cinémas 13, no. 3 (July 28, 2004): 33–51. http://dx.doi.org/10.7202/008706ar.

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Résumé En 1982, le film Sans soleil, de Chris Marker, préfigurait les possibilités multimédiatiques d’oeuvres subséquentes — le film Level Five (1996) et le CD-ROM Immemory (1997). Marker y « invente », par le moyen du cinéma, un ordinateur personnel dont la visée est aussi utopique — au sens positif du terme — que mémorielle. La « zone » (ainsi nommée en hommage à Andreï Tarkovski) permet de transfigurer des images tournées à travers le monde ; elle est la seule à pouvoir rendre compte de la mémoire comme de la fin d’un monde. Marker y dévoile la fonction rituelle du cinéma, alors que l’histoire se construit à force de catastrophes et de pertes. L’imaginaire de la fin se lie ici à la transformation matérielle et technologique des médiations. Ce double souci — celui d’une conscience de la perte et celui d’une espérance technologique — caractérise tout particulièrement ce film charnière dans l’oeuvre de Marker.

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Amaral de Aguiar, Carolina. "Chris Marker et l’Amérique latine : cinéma militant et circulation des idées politiques." Cinémas d’Amérique latine, no. 21 (December 1, 2013): 4–16. http://dx.doi.org/10.4000/cinelatino.91.

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Dominguez, Nathalie. "Trauma et temporalité. À propos de La Jetée, film de Chris Marker." Cahiers jungiens de psychanalyse N°151, no. 1 (2020): 115. http://dx.doi.org/10.3917/cjung.151.0115.

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여금미. "Digital Aporia: Spatialization of Memory in the Multimedia Works by Chris Marker." Film Studies ll, no. 65 (September 2015): 143–70. http://dx.doi.org/10.17947/kfa..65.201509.005.

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Ungar, S., and D. O. Harvey. "The Limits of Vococentrism: Chris Marker, Hans Richter and the Essay Film." SubStance 41, no. 2 (January 1, 2012): 6–23. http://dx.doi.org/10.1353/sub.2012.0020.

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46

Souza, Tainah Negreiros Oliveira de. "Os estilhaços do tempo: memória, história e imagem em "La jetée" (1962), de Chris Marker." Resgate: Revista Interdisciplinar de Cultura 20, no. 1 (November 5, 2012): 28. http://dx.doi.org/10.20396/resgate.v20i23.8645725.

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Este artigo é dedicado a analisar a relação entre memória, história e imagem em "La jetée", de Chris Marker, voltando-se, principalmente, para sua concepção estética, mise en scène, investigando de que forma essas questões constituem a obra e como ela informa e é informada pelo debate contemporâneo sobre esses temas.

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Otxoteko, Mikel. "Política de los recuerdos y los olvidos. Zapping Zone una instalación de Chris Marker." CALLE14: revista de investigación en el campo del arte 11, no. 19 (October 21, 2016): 114. http://dx.doi.org/10.14483//udistrital.jour.c14.2016.2.a10.

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Política de los recuerdos y los olvidos. Zapping Zone una instalación de Chris MarkerRESUMENChris Marker es autor de una extensa obra audiovisual, a través de la cual trata de hallar una política de la forma capaz de constituir las imágenes como memoria colectiva. Su trayectoria artística está marcada por una intensa experimentación técnica y estilística en torno a la imagen audiovisual. Esta experimentación le conducirá a romper constantemente los moldes, llevando su propia expresión más allá de la inflexibilidad de las tradiciones y las disciplinas. Este ensayo regresa concretamente sobre un proyecto tardío, su instalación interactiva Zapping Zone, para analizar las técnicas de ensamblaje y las tácticas empleadas respecto al visitante de la instalación. La obra es un buen ejemplo de un personalísimo trabajo centrado en la escritura de la historia y en los procesos de la memoria colectiva. En ella, Marker no trata de imitar o reproducir los mecanismos individuales y sociales, sino justamente de crear las condiciones técnicas y estéticas para la producción de nuevas formas de recuerdo y olvido.PALABRAS CLAVEArte contemporáneo, audiovisual, memoria, técnicas de montaje, olvido, Zapping ZonePOLICY OF RECALLING AND FORGETFULNESS. ZAPPING ZONE A CHRIS MARKER’S INSTALLATIONABSTRACTChris Marker is the author of an extensive visual artwork in which he intends to develop a politic of shape able to construct images as collective memories. The author’s artistic trajectory is considerably influenced by an intense technical and esthetic experimentation related to audiovisual image. The experimentation technique allows the author to constantly break traditions providing the chance to place his artwork at an upper level, exceeding the inflexibility of tradition and discipline. This essay takes a retrospective look at a late project, its interactive installation Zapping Zone with the purpose of analyzing the assembly and the used tactics regarding visitors who attend to the installation. This work is a good example of an outstanding devoted concern to history of writing and processes of collective memory. Marker not only pretends to imitate or reproduce social and individual mechanisms, but also attempts to create technical and esthetic conditions as new options for forgetting and recalling.KEY WORDSContemporary art, audiovisual, recalling, mounting technique, forgetfulness, Zapping Zone.IUIARISPA KUNGARISKAmANDA zAPPING zONE CHURASKAKUNA SUTI CHIS MARKERMAILLALACHISKASug iaha runa suti Chis Marker kawachikame sug, rurai chipi munakume kawachingapa tukuipa iuiakuna kai runa kami ajai racha unai kaipi trabajaska iachami allilla chimanda mailla maillla allichispa ringapa suma kidangami churangapami kankuna sug rurai kaawngapa allillachu kudaku suti Zapping Zone allichispa tukuikuna kawangapa. Kaipi iuiarispa ñugpamnda kawachinaku Kai kilkaipi ruraka runa suti Marker, mana kungarringapa iuiaikuna kaugsakangapa.RIMANGAPA MINISTISKAKUNA Ñugamanda rurai, kawachispa, iuiai, allilla churangapa, kungarri Zapping Zone.POLITIQUE DES SOUVENIRS ET DE CE QU’ON OUBLIE. ZAPPING ZONE UNE INSTALLATION À CHRIS MARKER RÉSUMÉChris Marker c’est un auteur d’une grande œuvre audiovisuelle, à travers laquelle il essaie de trouver une politique capable de constituer les images comme mémoire collective. Son parcours artistique est marqué pour une intense expérimentation technique autour l’image audiovisuelle. Cette expérimentation lui fait rompre régulièrement les schémas, en emmenant sa propre expression au-delà des inflexions des traditions et des disciplines. Cet essai retourne directement sur un projet tardif ; proprement de son installation Zapping Zone, pour analyser les techniques d’assemblage et tactiques utilisées vis au visiteur du montage. L’œuvre est un exemple parfait du travail personnel centré dans l’écriture de l’histoire et dans les processus de la mémoire commune. Dans celle-ci, MARKER n’essaie pas d’imiter ou reproduire les mécanismes soient individuels ou sociaux, par contre de créer les conditions techniques et esthétiques pour la production de nouvelles formes de souvenir et d’oubli.MOTS CLÉSArt contemporain, audiovisuel, mémoire, techniques de montage, oubli, Zapping Zone.

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Prozhiko, Galina Semyonovna. "Artistic Ambitions of Screen Document at the Turn of the Century." Journal of Flm Arts and Film Studies 3, no. 1 (February 15, 2011): 25–43. http://dx.doi.org/10.17816/vgik3125-43.

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The article deals with the auteur film, a specific phenomenon in the documentary cinema of the turn of the 21st century as exemplified by the works of such outstanding masters as Chris Marker, Werner Herzog, Godfrey Reggio, Wim Wenders. The text is part of a large monograph devoted to the history of world documentary.

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Nobre, Maíra Ramirez, Natacha Silva Araújo Rena, and Danilo Caporalli Barbosa. "68 e depois: Uma cartografia dos filmes "Morrer aos 30 Anos" e “O Fundo do Ar é Vermelho” / 68 and After: A Cartography of the Films “Half a Life “ and “A Grin Without a Cat”." Cadernos Benjaminianos 15, no. 1 (October 8, 2019): 15. http://dx.doi.org/10.17851/2179-8478.15.1.15-52.

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Resumo: A importância de Maio de 1968 para a história contemporânea mundial é inegável. Sua representatividade é tão grande que, mesmo passados mais de cinquenta anos, há intelectuais e artistas que o debatem expondo suas muitas controvérsias. Foi o caso da Mostra 68 e depois, que trouxe várias visões sobre o ocorrido por meio de longas e curtas metragem. Dentre elas optou-se construir este artigo por meio de um diálogo entre os filmes O fundo do ar é vermelho, de Chris Marker e Morrer aos trintas anos, de Romain Goupil, atravessado pela visão de Julia Fagioli, em sua tese de doutorado Por que as imagens se põem a tremer? Militância e montagem em O fundo do ar é vermelho, de Chris Marker e de Alain Badiou exposta no livro A hipótese comunista. Como recorte específico busca-se o embate entre a velha representada principalmente pelo Partido Comunista e a nova esquerda, que teve naquele evento de 68 em Paris, o marco específico para seu surgimento, deixando rastros e sementes que ainda repetem, diferente, de maneira efervescente em grande parte do mundo, inclusive o Brasil de Junho de 2013.Palavras-chave: Maio de 68; esquerda clássica; nova esquerda; cartografia.Abstract: The importance of the cultural and political events of May 1968 in Paris for contemporary world history is undeniable. Its representativity is so great that, even after more than fifty years, intellectuals and artists still debate it exposing its many controversies. It was the case of the event “Mostra 68 e Depois” (Exhibition 68 and after), that brought together, in Belo Horizonte, Brazil, several perspectives on the historical readings of the May 68 cultural and political events by means of long and short films. Among these films this paper chooses A Grin without a cat, by Chris Marker, and Half a Life, by Romain Goupil, and attempts to bring them together in a critical analysis based on the study Julia Fagioli puts foward in her doctorate thesis Why the images start shaking? Militancy and assembly in A grin without a cat, by Chris Marker, and Alain Badiou’s view in The Communist Hypothesis. Specifically, this paper deals with the clash between the old left, represented mainly by the Communist Party, and the new left, which emerged in the multiplicity of political events of 68 in Paris, leaving marks that still today resonates profoundly and in different ways in much of the world, including Brazil in June 2013.Keywords: May of 68; classic left-wing; new left; cartography.

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Prozhiko, Galina Semyonovna. "Artistic Ambitions of Screen Document at the Turn of the Century." Journal of Flm Arts and Film Studies 3, no. 2 (May 15, 2011): 24–44. http://dx.doi.org/10.17816/vgik3224-44.

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Abstract:

The article deals with the auteur film, a specific phenomenon in the documentary cinema of the turn of the 21st century as exemplified by the works of such outstanding masters as Chris Marker, Werner Herzog, Godfrey Reggio, Wim Wenders. The text is part of a large monograph devoted to the history of world documentary (publications in Issues 7, 8).

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Journal articles on the topic 'Chris Marker'

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