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	Chris Marker
		Chris Marker (born July 29, 1921) is a writer, photographer, film director and documentary maker.
		Chris Marker studied philosophy with Jean-Paul Sartre as professor.
		As a filmmaker, Chris Marker sees himself related to Andrei Tarkovsky and Akira Kurosawa, both of them he has portrayed in films.
	www.ebroadcast.com.au /lookup/encyclopedia/ch/Chris_Marker.html (237 words)

	filmjourney.org : Chris Marker
		Marker's film is both a tender reminescence and a critical overview of Soviet history, a moving and highly informative portrait of an artist in his time.
		Marker respectfully documents his friend's last days (in which, among other things, Tarkovsky was reunited with his son for the first time since defecting from his homeland in 1982).
		Marker intercuts this footage (which also includes Tarkovsky making editing decisions for his final film, The Sacrifice, from his deathbed) with a career-spanning critical interpretation of Tarkovsky's work that is both sensitive and observant, mystical and adoring--qualities intrinsically appropriate for the spiritually-commited Russian filmmaker.
	filmjourney.weblogger.com /2003/09/09 (1043 words)

	Chris Marker - Biography - Moviefone
		A cinematic essayist and audio-visual poet, Chris Marker was one of the most innovative filmmakers to emerge during the postwar era.
		Adopting a perspective akin to that of a stranger in a strange land, his films -- haunting meditations on the paradox of memory and the manipulation of time -- investigated the philosophical implications of understanding the world through media and, by extension, explored the very definition of cinema itself.
		At the outset of the 1950s, Marker's radical politics found a forum in documentary filmmaking, and by 1952 he had completed his first short feature, the 16 mm Olympia 52, a study of the Helsinki Winter Olympics.
	movies.aol.com /celebrity/chris-marker/101279/biography (845 words)

	[No title]
		Marker himself will no longer endorse public screenings of most of the films he made before 1962 - a constant source of frustration to Marker enthusiasts keen to see more of his work and reach their own conclusions as to its worth.
		Marker and Chris Marker; to be a global traveller, the man with the camera (the only image of himself that Marker will willingly publish), a cat, an owl, a man of the Left, and what the film scholar Tan Christie so aptly calls a techno-shaman.
		Marker also insistently presents images that are already constituted as media rep- resentations, notably the hallucinatory sequence of moments from Japanese television, which later escape from the confines of the screen to invade the dreams of people filmed asleep in Tokyo commuter trains.
	homepages.nyu.edu /~km89/courses/grad/marker.txt (4835 words)

	Baltimore Independent Media Center: Chris Marker's 'Sans Soleil" (1983) Reviewed by Scott Loughrey
		Marker has encouraged his audience members to relive their own mundane lives in order to trick them into the acceptance of an authoritarian idea not currently held.
		Marker then has his narrator tell you there is no ethical difference between you and the machinations of the military state we oppose.
		Marker is making a film where each person in a room of people will be drifting away to their unique mundane problems, hopes, fears.
	baltimore.indymedia.org /newswire/display/8852/index.php (1681 words)

	The Films of Chris Marker
		Born Christian François Bouche-Villeneuve on July 29, 1921 in Neuilly-sur-Seine, France, Chris Marker is a cinematic essayist and audio-visual poet.
		Now concentrating on video and computer-controlled imagery, after 50 years of engaged and creative work, Chris Marker is one of the most innovative and influential filmmakers, exemplified by the 2006 release of the English version of his The Case of the Grinning Cat.
		The Case of the Grinning Cat - In his newest film, French cinema-essayist Chris Marker reflects on French and international politics, art and culture at the start of the new millennium.
	www.frif.com /subjects/marker.html (427 words)

	Chris Marker - Wikipedia, the free encyclopedia
		Chris Marker (born July 29, 1921) is a French writer, photographer, film director, multimedia artist and documentary maker.
		In 1982 marker finished Sans Soleil, stretching the limits of what could be called a documentary.
		Note: Marker was eventually credited as a writer for this one, apparently, he wrote the dialogue (Film Comment).
	en.wikipedia.org /wiki/Chris_Marker (735 words)

	Eye Weekly - Marker's magic - 11.28.02
		Marker is one of world cinema's most cerebral figures: a master of aphorisms and bons mots, of unlikely connections and coincidences and of profound truths disguised as offhand observations.
		In both films, Marker revels in his "nostalgia for the age of images," inspiring the viewer to consider the suggestive power that the photograph retains even in our age of sensory overload.
		But only Marker would think to ruminate on Castro's compulsive microphone fiddling or juxtapose the sounds of radicals tearing up the streets of Paris in May '68 with the images of shoppers on the same streets a decade later.
	www.eye.net /eye/issue/issue_11.28.02/film/marker.html (1273 words)

	Chris Marker - Films as Director:, Other Films:
		Chris Marker's principal distinction may be to have developed a form of personal essay within the documentary mode.
		Marker insists to one interviewee who opts for material success that his view of life is "a trifle limited." "No interest in other things?" Marker asks.
		Marker's fascination with foreign, particularly Japanese, cultures is evident in the making of Sans soleil and A.K. The former is an idiosyncratic travelogue about Japan, narrated by a fictional cameraman, while the latter is a documentary about Akira Kurosawa's (arguably Japan's most renowned filmmaker) making of Ran.
	www.filmreference.com /Directors-Lu-Mi/Marker-Chris.html (1454 words)

	Chris Marker's Bestiary
		Marker fans are familiar with the cartoon representation of Guillaume-en-Egypte, Marker's beloved pet cat, which has become the reclusive filmmaker's alter ego.
		Animals in Chris Marker's films often function as cultural or political metaphors ("A cat is never on the side of power," Marker has explained).
		In this anthology of short films, however, Marker avoids the commercial cinema's tendency to anthropomorphize animals in favor of a simple celebration of their exotic beauty, primal nature and mystery.
	www.frif.com /new2006/bes.html (343 words)

	Chris Marker. The political composition of the image. Gonzalo de Lucas (Site not responding. Last check: 2007-10-14)
		Marker introduces the idea of "impermanence", which is fundamental for an understanding of Japanese culture (5), which should be examined in the light of Deleuze’s proposals to analyse the role of empty spaces in the films of Yasujiro Ozu (6).
		Chris Marker, the invisible man, eventually defends that pure contemplation, which has nothing to do with the adjectives and labels that critics use to classify and pigeonhole.
		Marker’s films, which he himself described as essays, are one of the decisive works in those Histories of the Cinema which seem to ignore him.
	www.iua.upf.es /formats/formats2/luc_a.htm (3888 words)

	The Brooklyn Rail - Chris Marker: “Make Cats Not War”The Case Of The Grinning Cat, plus 5 shorts (Site not responding. Last check: 2007-10-14)
		Chris Marker’s latest film, The Case Of The Grinning Cat, was originally released in France in 2004, and played in last Spring’s Tribeca Film Festival.
		Chris Marker worked on the 1955 landmark, Night And Fog, though he never achieved (or wanted) the fame of his former collaborator Alain Resnais.
		Marker played a large part in conceiving and crafting the film, but preferred to be credited humbly as its “First Assistant Director”.
	brooklynrail.org /2006-12/film/chris-marker-make (1416 words)

	Chris Marker
		To this end, the filmmaker juxtaposes footage from a contemporary television commercial to underscore the delusive irony and false panacea of created demand and consumerism, as a pleasantly surprised elderly couple receives a second television - an anniversary present from their family - and proudly boasts, "We're a two set family now!".
		However, for Marker and the socialist movement, the sentimental war resided away from these disposable, saccharin images of "advanced" civilization and was, instead, waged in the distant fields of Vietnam: a campaign for national self-determination that plays out against an intrusive, international politics of an escalating Cold War.
		Visually, Marker reinforces the incestuous (and inseparable) interrelationship within the sphere of international politics, global commerce, human exploitation, and the conduction of the Olympics by juxtaposing archival footage of the games with a morbidly wry, tongue-in-cheek art exhibition of skeletal sculptures posed in various forms of athletic competition.
	www.filmref.com /directors/dirpages/marker.html (978 words)

	More of what it is: catching up with Chris Marker Afterimage - Find Articles
		Marker's seamless moving in-between media is one of the themes of Lupton's study Chris Marker: Memories of the Future (2005), remarkably the first book-length treatment in English of Marker's prodigious output over a span of some nearly 60 years.
		Furthermore, Marker is one of the few whose output rivals the significance of his countrymen Jean-Luc Godard and Guy Debord.
		Although instantly identified with the tradition, Marker dismissed the term "documentary" as a "trail of sanctimonious boredom." (5) Likewise Marker's career is a sophisticated rebuttal of auteur and cinema verite theory (as Marker noted, "cine, ma verite" = cinema, my truth).
	www.findarticles.com /p/articles/mi_m2479/is_2_33/ai_n15966514 (521 words)

	Chris Marker Biography :: Hollywood.com (Site not responding. Last check: 2007-10-14)
		Marker's best-known work, however, is the fictional "La Jetee/The Pier" (completed 1962, released 1964), a haunting time-travel parable which consists--except for one short, and very beautiful, sequence of a woman waking up--of a series of still images accompanied by voice-over narration.
		Marker is attempting in these films to do away with conventional storytelling techniques, creating an almost incantatory experience of movement in space and time.
		Marker later made another film portrait with "The Last Bolshevik" (1993), his tribute to Alexander Medvedkin, the Soviet filmmaker who was behind the so-called "film trains" (mobile film studios) of the 30s.
	www.hollywood.com /celebs/fulldetail/id/196413 (1218 words)

	Chris Marker, Immemory {English ed. ::: Exact Change ::: 2002} (Site not responding. Last check: 2007-10-14)
		Since then, Marker's films (including the features Sans Soleil, and most recently Level Five) have continued to stretch the definition of the art, merging at times with the essay, political manifesto, personal letter, art installation, even the computer game.
		In Immemory, Chris Marker has used the format of the CD-Rom to create a multi-layered, multimedia memoir.
		"Chris Marker has a brilliant mind and heart and appetite for life, and it's a privilege to travel with him to whatever he chooses to remember and to evoke.
	www.silcom.com /~dlp/cm/immemory_exactchange.html (462 words)

	Platonic Themes in Chris Marker's La Jetee
		Chris Marker's 1962 short film La Jetée (1962) is probably best known today as the inspiration for Terry Gilliam's 1995 film 12 Monkeys.
		Most serious critics acknowledge that Marker's film is vastly superior to any of its imitators in its brilliant use of still images and sparse narration to construct a story which is both compelling and haunting.
		Marker has cleverly remade this story in a manner which emphasizes similar themes while providing us with an equally haunting ending.
	www.sensesofcinema.com /contents/00/4/jetee.html (2575 words)

	Salon.com Arts & Entertainment \| "One Day in the Life of Andrei Arsenevich"
		The elusive, respected but only marginally famous French filmmaker Chris Marker perhaps isn't experimental in the strictest sense of the word: His movies, among them 1982's visual tone poem "Sans Soleil" and the haunting 1962 "La Jetée" (on which "12 Monkeys" was based), deal with lush abstractions like the resilience of memory and perception.
		Marker blends biographical detail with succinct and artful observations about Tarkovsky's pictures: Far from just serving up a cool, remote portrait of a filmmaker many people haven't heard of, Marker draws us in so intimately that he whets our appetite to see more of Tarkovsky's work.
		Marker is always interested in putting together collages of images -- his movies are like moving scrapbooks -- and here he mixes clips from Tarkovksy's movies with video footage of both the filmmaker at work and on his sickbed.
	archive.salon.com /ent/movies/review/2001/06/15/tarkovsky/index.html (786 words)

	Errata: Chris Marker's Owls at Noon
		Although Chris Marker is one of my favorite filmmakers, my admiration has until recently been based entirely on one feature and one short, Sans Soleil (1983) and La Jetée (1962), respectively.
		Marker takes Eliot's evocation of a shapeless, colorless, purposeless existence and applies it to the war's stunned-silent aftermath, the lull and those that came later, as if the 20th century isn't so much defined by its wars but by the brevity of the pauses between them.
		Marker's found photos underscore some of the poem's images — when Eliot writes about "eyes I dare not meet in dreams," Marker knows just the sort of eyes he means — but he's not merely illustrating the poem.
	www.erratamag.com /archives/2005/06/chris_markers_o.html (1187 words)

	Chris Marker Characteristics (Site not responding. Last check: 2007-10-14)
		Chris Marker's film La Jetee was made in 1962.
		Marker also portrays a certain obsession with memory.
		Marker's work is not too complicated to understand.
	people.wcsu.edu /mccarneyh/fva/m/MarkerC_char.html (95 words)

	village voice > film > The Last Bolshevik and One Day in the Life of Andrei Arsenevich at Anthology; Evolution by J. ...
		A month away from his 80th birthday, French filmmaker Chris Marker is the Janus of world cinema—as open to the future as he is fixated on the past.
		Marker's unclassifiable documentaries treat memory as the stuff of science fiction; he thrives on technological paradox.
		Marker quotes the infamous scene from The Vow (1946) in which the Chief—or rather, an actor impersonating him—repairs a tractor that has broken down in Red Square.
	www.villagevoice.com /issues/0124/hoberman.php (1540 words)

	Nora M. Alter / Chris Marker
		Having spearheaded the bourgeoning Nouvelle Vague scene in the late 1950s and developed a distinctive style involving still images, Chris Marker (born Christian François Bouche-Villeneuve) stands among the most influential filmmakers of the postwar era, yet remains enigmatic.
		Marker's 1953 debut "filmic essay," The Statues Also Die (with Alain Resnais) exposed the European art market's complicity in the former Belgian Congo atrocities, and provided a bold model for other politically committed filmmakers.
		Thus began Marker's long struggle against global injustice, a trajectory that included his involvement with Night and Fog, La Jetée, Le Joli Mai, Far from Vietnam, Le fond du l'air est Rouge, and Prime Time in the Camps.
	www.press.uillinois.edu /s06/alter.html (232 words)

	Amazon.com: Chris Marker: Memories of the Future: Books: Catherine Lupton (Site not responding. Last check: 2007-10-14)
		It's hard for a biographer to sink her teeth into an elusive figure like Chris Marker, for Marker is famous for not allowing himself to be interviewed, or even photographed, and when fans write to him asking for a signed photo, he sends back a picture of a cat, or sometimes an owl.
		Marker has a tortured relationship to his own films, and in recent years has taken on the extended project of re-working, re-editing, and re-presenting his earlier films in a new, gallery based context which is quite site-specific.
		Marker's relationship with Yves Montand and Simone Signoret is discussed in the book, as well as his fascination with the Russian kino-train director, Alexander Medvekin.
	www.amazon.com /Chris-Marker-Memories-Catherine-Lupton/dp/1861892233 (1703 words)

	Film Comment
		Marker, 81, has always preferred to allow his filmed images, rather than his image as a filmmaker, to speak for him.
		Less than a dozen photographs of Marker exist, and his interviews are even more rare.
		By treating the same subject 20 years later, Marker has overcome death by prayer." When you read that, written by someone you don't know, who knows nothing of how the films came to be, you feel a certain emotion.
	www.filmlinc.com /fcm/5-6-2003/markerint.htm (2376 words)

	Chris Marker (Site not responding. Last check: 2007-10-14)
		Chris Marker is essentially an audio-visual poet and essayist whose (mainly) non-fiction films are characterized by the use of static images, evocative sound tracks and strong, literate commentary.
		A prolific writer and still photographer as well, Marker has a directorial perspective which has always been that of the alien in foreign territory, his films travel diaries with political overtones.
		In the early 1950s, Marker turned to documentary filmmaking, bringing his radical politics to bear on a variety of subjects, many shot outside of France....
	www.hollywood.com /celebs/detail/celeb/196413 (1189 words)

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