Chris Marker (; 29 July 1921 – 29 July 2012) was a French writer, photographer, documentary film director, multimedia artist and film essayist.
In 1971, SLON made Le Train en marche, a new prologue to Soviet filmmaker Aleksandr Medvedkin's 1935 film Schastye, which had recently been re-released in France. In 1974, SLON became I.S.K.R.A.
The 1949 edition of Le Cœur Net gives his birthday as 22 July.
In 1949 Marker published his first novel, Le Coeur net (The Forthright Spirit), which was about aviation.
In 1952 Marker published an illustrated essay on French writer Jean Giraudoux, Giraudoux Par Lui-Même. ==Early career (1950–1961)== During his early journalism career, Marker became increasingly interested in filmmaking and in the early 1950s experimented with photography.
In 1952 Marker published an illustrated essay on French writer Jean Giraudoux, Giraudoux Par Lui-Même. ==Early career (1950–1961)== During his early journalism career, Marker became increasingly interested in filmmaking and in the early 1950s experimented with photography.
Anatole Dauman produced many of Marker's earliest films. In 1952 Marker made his first film, Olympia 52, a 16mm feature documentary about the 1952 Helsinki Olympic Games.
In 1953 he collaborated with Resnais on the documentary Statues Also Die.
It won the 1954 Prix Jean Vigo, but was banned by French censors for its criticism of French colonialism. After working as assistant director on Resnais's Night and Fog in 1955, Marker made Sunday in Peking, a short documentary "film essay" in the style that characterized Marker's output for most of his career.
It won the 1954 Prix Jean Vigo, but was banned by French censors for its criticism of French colonialism. After working as assistant director on Resnais's Night and Fog in 1955, Marker made Sunday in Peking, a short documentary "film essay" in the style that characterized Marker's output for most of his career.
Marker shot the film in two weeks while traveling through China with Armand Gatti in September 1955.
In the film, Marker's commentary overlaps scenes from China, such as tombs that, contrary to Westernized understandings of Chinese legends, do not contain the remains of Ming Dynasty emperors. After working on the commentary for Resnais's film Le mystère de l'atelier quinze in 1957, Marker continued to refine his style with the feature documentary Letter from Siberia.
In producing a meta-commentary on narrativity and film, Marker uses the same brief filmic sequence three times but with different commentary—the first praising the Soviet Union, the second denouncing it, and the third taking an apparently neutral or "objective" stance. In 1959 Marker made the animated film Les Astronautes with Walerian Borowczyk.
In 1960 he made Description d'un combat, a documentary on the State of Israel that reflects on its past and future.
The film won the Golden Bear for Best Documentary at the 1961 Berlin Film Festival. In January 1961, Marker traveled to Cuba and shot the film ¡Cuba Sí! The film promotes and defends Fidel Castro and includes two interviews with him.
The banned essay was included in Marker's first volume of collected film commentaries, Commentaires I, published in 1961.
The following year Marker published Coréennes, a collection of photographs and essays on conditions in Korea. ==La Jetée and Le Joli Mai (1962–1966)== Marker became known internationally for the short film La Jetée (The Pier) in 1962.
Beginning in the spring of 1962, Marker and his camera operator Pierre Lhomme shot 55 hours of footage interviewing random people on the streets of Paris.
It also inspired many of Mira Nair's shots in her 2006 film The Namesake. While making La Jetée, Marker was simultaneously making the 150-minute documentary essay-film Le joli mai, released in 1963.
Instead, he preferred his own term “ciné, ma vérité,” meaning "cinéma, my truth." It was shown in competition at the 1963 Venice Film Festival, where it won the award for Best First Work.
It also won the Golden Dove Award at the Leipzig DOK Festival. After the documentary Le Mystère Koumiko in 1965, Marker made Si j'avais quatre dromadaires, an essay-film that, like La Jetée, is a photomontage of over 800 photographs Marker had taken over the previous 10 years in 26 countries.
It was the last film in which Marker included "travel footage" for many years. ==SLON and ISKRA (1967–1974)== In 1967 Marker published his second volume of collected film essays, Commentaires II.
Marker is usually credited as director or co-director of all of the films made by SLON. After the events of May 1968, Marker felt a moral obligation to abandon his own personal film career and devote himself to SLON and its activities.
SLON's first film was about a strike at a Rhodiacéta factory in France, À bientôt, j'espère (Rhodiacéta) in 1968.
The metaphor compares the promise of the global socialist movement before May 1968 (the grin) with its actual presence in the world after May 1968 (the cat).
The film's original French title is Le fond de l'air est rouge, which means "the air is essentially red", or "revolution is in the air", implying that the socialist movement was everywhere around the world. The film was intended to be an all-encompassing portrait of political movements since May 1968, a summation of the work which he had taken part in for ten years.
The film is divided into two parts: the first half focuses on the hopes and idealism before May 1968, and the second half on the disillusion and disappointments since those events.
La Bataille des dix millions was made in 1970 with Mayoux as co-director and Santiago Álvarez as cameraman and is about the 1970 sugar crop in Cuba and its disastrous effects on the country.
The film chronicles events in Chile, beginning with the 1970 election of socialist President Salvador Allende until his murder and the resulting coup in 1973. Marker then began work on one of his most ambitious films, A Grin Without a Cat, released in 1977.
The film was re-released in the US in 2002. In the late 1970s, Marker traveled extensively throughout the world, including an extended period in Japan.
In 1971, SLON made Le Train en marche, a new prologue to Soviet filmmaker Aleksandr Medvedkin's 1935 film Schastye, which had recently been re-released in France. In 1974, SLON became I.S.K.R.A.
The concert was Montand's first public performance in four years, and the documentary includes film clips from his long career as a singer and actor. Marker had been working on a film about Chile with ISKRA since 1973.
The film chronicles events in Chile, beginning with the 1970 election of socialist President Salvador Allende until his murder and the resulting coup in 1973. Marker then began work on one of his most ambitious films, A Grin Without a Cat, released in 1977.
In 1971, SLON made Le Train en marche, a new prologue to Soviet filmmaker Aleksandr Medvedkin's 1935 film Schastye, which had recently been re-released in France. In 1974, SLON became I.S.K.R.A.
(Images, Sons, Kinescope, Réalisations, Audiovisuelles, but also the name of Vladimir Lenin's political newspaper Iskra, which also is a Russian word for "spark"). ==Return to personal work (1974–1986)== In 1974 returned to his personal work and made a film outside of ISKRA.
The resulting film was the two and a half-hour documentary La Spirale, released in 1975.
The film chronicles events in Chile, beginning with the 1970 election of socialist President Salvador Allende until his murder and the resulting coup in 1973. Marker then began work on one of his most ambitious films, A Grin Without a Cat, released in 1977.
From this inspiration, he first published the photo-essay Le Dépays in 1982, and then used the experience for his next film Sans Soleil, released in 1982. Sans Soleil stretches the limits of what could be called a documentary.
Sans Soleil was shown at the 1983 Berlin Film Festival where it won the OCIC Award.
It was also awarded the Sutherland Trophy at the 1983 British Film Institute Awards. In 1984, Marker was invited by producer Serge Silberman to document the making of Akira Kurosawa's film Ran.
It was also awarded the Sutherland Trophy at the 1983 British Film Institute Awards. In 1984, Marker was invited by producer Serge Silberman to document the making of Akira Kurosawa's film Ran.
From this Marker made A.K., released in 1985.
The film was screened in the Un Certain Regard section at the 1985 Cannes Film Festival, before Ran itself had been released. In 1985, Marker's long-time friend and neighbor Simone Signoret died of cancer.
From 1985 to 1988, he worked on a conversational program (a prototypical chatbot) called "Dialector," which he wrote in Applesoft BASIC on an Apple II.
Marker then made the one-hour TV documentary Mémoires pour Simone as a tribute to her in 1986. ==Multimedia and later career (1987–2012)== Beginning with Sans Soleil, Marker developed a deep interest in digital technology.
From 1985 to 1988, he worked on a conversational program (a prototypical chatbot) called "Dialector," which he wrote in Applesoft BASIC on an Apple II.
Zoo Piece Getting away with it (1990) Berlin 1990 (1990) Détour Ceausescu (1991) Théorie des ensembles (1991) Coin fenêtre (1992) Azulmoon (1992) Le Tombeau d'Alexandre a.k.a.
The film was re-released in the US in 2002. In the late 1970s, Marker traveled extensively throughout the world, including an extended period in Japan.
One exception was a lengthy interview with Libération in 2003 in which he explained his approach to filmmaking.
Owl Gets in Your Eyes Casque bleu (1995) Silent Movie (1995) Level Five (1997) One Day in the Life of Andrei Arsenevich (2000) Un maire au Kosovo (2000) Le facteur sonne toujours cheval (2001) Avril inquiet (2001) Le souvenir d'un avenir (with Bellon 2003) Un maire au Kosovo (2000) Chats Perchés (2004) a documentary about M.
Marker created a 19-minute multimedia piece in 2005 for the Museum of Modern Art in New York City titled Owls at Noon Prelude: The Hollow Men which was influenced by T.
It also inspired many of Mira Nair's shots in her 2006 film The Namesake. While making La Jetée, Marker was simultaneously making the 150-minute documentary essay-film Le joli mai, released in 1963.
The avatar was created by Exosius Woolley and first appeared in the short film / machinima, Ouvroir the Movie by Chris Marker. In the 2007 Criterion Collection release of La Jetée and Sans Soleil, Marker included a short essay, "Working on a Shoestring Budget".
Marker also reminds the reader that only one short scene in La Jetée is of a moving image, as Marker could only borrow a movie camera for one afternoon while working on the film. From 2007 through 2011 Marker collaborated with the art dealer and publisher Peter Blum on a variety of projects that were exhibited at the Peter Blum galleries in New York City's Soho and Chelsea neighborhoods.
Version 6 of this program was revived from a floppy disk (with Marker's help and permission) and emulated online in 2015. His interests in digital technology also led to his film Level Five (1996) and Immemory (1998, 2008), an interactive multimedia CD-ROM, produced for the Centre Pompidou (French language version) and from Exact Change (English version).
(Marker was represented in Agnes Varda's 2008 documentary The Beaches of Agnes by a cartoon drawing of a cat, speaking in a technologically altered voice.) Marker's own cat was named Guillaume-en-égypte.
In 2009, Marker commissioned an Avatar of Guillaume-en-Egypte to represent him in machinima works.
The video installations Silent Movie and Owls at Noon Prelude: The Hollow Men were exhibited at Peter Blum in 2009.
Marker also reminds the reader that only one short scene in La Jetée is of a moving image, as Marker could only borrow a movie camera for one afternoon while working on the film. From 2007 through 2011 Marker collaborated with the art dealer and publisher Peter Blum on a variety of projects that were exhibited at the Peter Blum galleries in New York City's Soho and Chelsea neighborhoods.
Chris Marker (; 29 July 1921 – 29 July 2012) was a French writer, photographer, documentary film director, multimedia artist and film essayist.
Marker's works were also exhibited at the Peter Blum Gallery on 57th Street in 2014.
Version 6 of this program was revived from a floppy disk (with Marker's help and permission) and emulated online in 2015. His interests in digital technology also led to his film Level Five (1996) and Immemory (1998, 2008), an interactive multimedia CD-ROM, produced for the Centre Pompidou (French language version) and from Exact Change (English version).
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