Relevant bibliographies by topics / La jetée

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  1. Journal articles

Academic literature on the topic 'La jetée'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "La jetée"

1

Huebner, Karla. "Nostalgia and La Jetée." Contemporaneity: Historical Presence in Visual Culture 4 (August 3, 2015): 95–107. http://dx.doi.org/10.5195/contemp.2015.132.

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This essay contemplates Chris Marker’s film La Jetée (1962) via Svetlana Boym’s conceptualization of “restorative” versus “reflective” nostalgia. It looks in part at the film’s presentation of the protagonist’s restorative nostalgia, but unlike previous examinations of nostalgia’s role in La Jetée, this essay foregrounds the viewer’s own experience of a reflective nostalgia for the film. The author considers her personal and subjective, and historically specific, encounters with La Jetée in relation to how the film may produce a similar nostalgia in others through its storytelling and unusual combination of photographic and cinematic form. Drawing also on Réda Bensmaïa’s semiotic and psychoanalytic analysis of the film’s “pictogrammatic” quality, the essay further considers the possible roles of trauma and masochism in the film and for its viewers, and relates the experience of watching La Jetée to that of watching An Occurrence at Owl Creek Bridge (also 1962). The essay therefore situates both films in the context of historically situated yet ever-changing lived experience.
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2

Witt-Jauch, Martina. "Image versus imagination." Alphaville: Journal of Film and Screen Media, no. 4 (December 21, 2012): 83–96. http://dx.doi.org/10.33178/alpha.4.06.

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While the 1962 French science fiction film La Jetée presents a straightforward narrative premise, it nonetheless details the story of a man who “becomes a human projectile to be pro-jeté through time,” as Paul Sandro claims. Incriminating the audience in a theatre of cruelty, the film moves through the past and future via the mental time-travel of the protagonist in a series of stills, which appear independent from the consciousness of the agent. In the course of events, the protagonist builds a cognitive map out of this chaotic sequence of memories that allows him to then create new spaces of thought. The first mention of the “theatre of cruelty” by Antonin Artaud in 1935, considered pain and terror to be the most important elements of any kind of play or film. The protagonist's situation of constantly chasing his own ghost and restoring his memory corresponds to these conditions and thus opens up new venues of considering cruelty, and in extension trauma, as an important third element in Chris Marker's film. His film La Jetée created a filmic embodiment of this interplay in both the redemptive yet productive powers of memory and the cyclical notion of time as it manifests itself in the mind of the protagonist and viewer.
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3

Croombs, Matthew. "La jetée in Historical Time: Torture, Visuality, Displacement." Cinema Journal 56, no. 2 (2017): 25–45. http://dx.doi.org/10.1353/cj.2017.0001.

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4

Uroskie, Andrew V. "La Jetée en Spirale: Robert Smithson's Stratigraphic Cinema." Grey Room 19 (April 2005): 54–79. http://dx.doi.org/10.1162/grey.2005.1.19.54.

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5

김석원 and Seongho Kim. "A film analysis of La jetée through uncanny theory." Korean Journal of Art and Media 10, no. 2 (2011): 49–60. http://dx.doi.org/10.36726/cammp.2011.10.2.49.

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6

Cohen, Alain J. ‐J. "12 Monkeys, VertigoandLa Jetée. Postmodern Mythologies and Cult Films." New Review of Film and Television Studies 1, no. 1 (2003): 149–64. http://dx.doi.org/10.1080/1740030032000137603.

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7

Jokinen, Petri. "Ajan ja tilan merkkejä Chris Markerin elokuvassa La Jetée." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 2-3 (2021): 111–20. http://dx.doi.org/10.23994/lk.111164.

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8

Magalhães, Elisa De. "Destempo." POIÉSIS 20, no. 34 (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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9

Alves, Gabriela Santos. "Memórias de paz, imagens de guerra: La jetée, de Chris Marker." Dispositiva 5, no. 2 (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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10

Ferrer, Carolina. "L’évolution de la fin : de La Jetée à 12 Monkeys." Cinémas 13, no. 3 (2004): 53–77. http://dx.doi.org/10.7202/008707ar.

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RésuméPlus de trente ans se sont écoulés entre la production deLa Jetée(1962), de Chris Marker, et le film qu’elle a inspiré à Terry Gilliam,12 Monkeys(1995). En comparant les deux productions, on peut observer que d’importants changements se sont opérés dans l’imaginaire contemporain : plutôt qu’une catastrophe nucléaire, c’est l’anéantissement provoqué par un fou solitaire qui menace le monde ; la participation des personnages féminins est devenue plus active ; la trame des événements dévoile une complexité croissante. Cependant, les voyageurs intertemporels des deux films expérimentent toujours un profond malaise devant une temporalité qui ne respecte pas les lois de la causalité.
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