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| | Millennium Film Journal: Joe McElhaney |
 | | Whatever else one might say about them, the films being made by Epstein, Gance, BuÒuel, Clair, L'Herbier (or, for that matter, virtually any other films cited by Marker in the installation, from Griffith to Garbo to Vertov) are borne of an absolute certainty of the nature of their missions. |
 | | In some cases, one would have to be intimately familiar with the original film to know that Marker is violating his own historical parameters, that, for instance, one of the images of Garbo is from the sound film Mata Hari and not from one of her silent films. |
 | | Second, while Marker frequently films Belkhodja in such a way that she is intended to evoke the archetypal modes of silent film behavior, what we are most frequently reminded of as we watch these video images is the inability to achieve this symbiosis. |
| www.mfj-online.org /journalPages/MFJ29/McElhaneyMarker.html (3805 words) |
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