This important publication--the first comprehensive survey of the filmmaker's influential oeuvre--surveys the entirety of Chris Marker's prolific career and considers his lasting influence on contemporary artists and filmmakers. It charts Marker's unique commentaries on societies at times of upheava[...]
Any new film and any new book by French filmmaker Chris Marker is an event. Marker gave film lovers one of their most memorable experiences with La Jetee (1962)--a time-travel montage set after a nuclear war that inspired Terry Gilliam's Twelve Monkeys (1995). His still camerawork is not as well kno[...]
Part of our revived "Poetry Pamphlet Series," Sorting Facts is Susan Howe 's masterful meditation on the filmmaker Chris Marker, whose film stills are interspersed throughout.An excerpt: Sorting word-facts I only know an apparition. Scribble grammarhas no neighbor. In the name of reason I need to re[...]
"Tabloids love to catch people unaware," writes the legendary film auteur Chris Marker (born 1921) in his introduction to this beautiful volume of new photographs. "My aim is exactly-small wonder-the opposite of tabloids. I try to give them their best moment, often imperceptible in the stream of tim[...]
Chris Marker (1921-2012) was a celebrated French documentary film director, writer and photographer, best known for his films La Jetee, A Grin Without a Cat and Sans Soleil. He was described by fellow filmmaker Alain Resnais as "the prototype of the 21st-century man." In this highly original book, A[...]
Chris Marker's legendary "cin roman" ("film novel") La Jete is considered one of the greatest and most influential experimental films of all time. This short film--a postapocalyptic story composed almost entirely of black-and-white still photographs--has been praised by cultural theorists and Netfli[...]
Chris Marker is one of the most extraordinary and influential film-makers of our time. In landmark films such as "Letter from Siberia" (1958), "La Jetee" (1962), "Sans Soleil" (1982) and "Level Five" (1996), he overturned the conventions of the cinema, confounding normal distinctions between documen[...]