Filed under artists book, catalogue | Tags: · cinema, film, film history, silent cinema, silent film
In Silent Movie, “Marker employs five-channels of video, each a thematic exploration of early cinema. Film images disclosing ‘The Journey,’ ‘The Face,’ ‘The Gesture,’ and ‘The Waltz’ occupy four of the monitors while on the fifth (and middle) monitor is a collection of ninety-four silent-era intertitles, ‘telling short, mysterious pieces of unknown stories.’ These moving images travel through a computer interface that assembles an ever-changing array of sequences. At any given moment, each passage is in unique juxtaposition with the other images passing across the surrounding monitors. Coloration, tone, and association are governed by chance contiguities; even the intertitles narrate across a field of fluid relationships.” (Source)
“Silent Movie. To give an installation the name of something that never existed is probably less innocent than the average cat may infer. There was never anything like silent cinema, except at the very beginning, or in film libraries, or when the pianist had caught a bad flu. There was at least a pianist, and soon an orchestra, next the Wurlitzer, and what contraptions did they use, in the day of my childhood, to play regularly the same tunes to accompany the same film? I’m probably one of the last earthlings–the ‘last,’ says the cat–to remember what themes came with what films: ‘A Midsummer Night’s Dream’ on Wings (the dogfights), Liszt’s ‘The Preludes’ on Ben Hur. A touch of humour noir here, to think that the saga of the young hebrew prince was adorned by Hitler’s favorite music, which in turn explains why you hear it more often than Wagner on the German war newsreels–but I get carried away. …”–Chris Marker (book page 15)
Edited by Ann Bremner
Publisher Wexner Center for the Arts, Ohio State University, Columbus/OH, 1995
Filed under fiction | Tags: · aviation
Chris Marker‘s debut novel.
“His friend Alain Resnais recalls that Marker favored a 1951 English translation of his prizewinning (Prix Orion, 1950) novel [..] because it had so little resemblance to the original.” (source)
Originally published in French as Le cœur net, Le Seuil, Paris, 1949.
Translated by Robert Kee and Terence Kilmartin
Publisher Allan Wingate, London, 1951
PDF (6 MB, updated on 2016-10-7)Comments (2)
Filed under magazine | Tags: · cinema, film, film criticism, film theory
Two-part feature from Film Comment magazine (May-June, and July-August 2003 issues).
Part I includes contributions by Chris Darke, Howard Hampton, Michael Almereyda, Catherine Lupton, Sam Di Iorio, Chris Darke, and a rare interview with Chris Marker by Samuel Douhaire & Annick Rivoire.
Part II with contributions by Paul Arthur, Olaf Möller, Min Lee, Sam Di Iorio and Michael Chaiken, André Bazin, Kent Jones, J. Hoberman, and annotated filmography by Catherine Lupton, Sam Di Iorio, Min Lee, Michael Chaiken, J. Hoberman, & Chris Marker.
PDF (Part I)
PDF (Part II)
watch Marker’s 1989 TV mini-series The Owl’s Legacy (Monoskop wiki)