scholarly journals Les Statues meurent aussi (Chris Marker et Alain Resnais, 1953) – mais leur mort n’est pas le dernier mot

Décadrages ◽  
2019 ◽  
pp. 72-93
Author(s):  
Matthias De Groof
Keyword(s):  
Alain Resnais ◽  
Chris Marker

Experimentieren, um zu sehen

2012 ◽  
Vol 57 (2) ◽  
pp. 26-43
Author(s):  
Georges Didi-Huberman
Keyword(s):  
Point Of View ◽  
Literary Field ◽  
Alain Resnais ◽  
Visual Style ◽  
Technical Reproducibility ◽  
Andre Malraux ◽  
Imaginary Field ◽  
Chris Marker

Ausgehend vom Standpunkt eines visuellen und kognitiven Experimentierens beschäftigt sich der Beitrag mit der Arbeit André Malraux’ zu den Illustrationen seines Musée imaginaire. Es handelt sich um eine Arbeit, die explizit vom Benjamin der »technischen Reproduzierbarkeit« und des »Autors als Produzenten« inspiriert ist. Studiert wird die Öffnung des imaginären Feldes, wie sie die Praxis des Kunstbuchs – als einem Album, das von einer Art Expressivität der Rahmung, Beleuchtung und Montage getragen wird – bei Malraux nahelegt. Durch diese Praxis der Montage konstruiert Malraux die Autorität seines visuellen Stils und die Schließung seines literarischen Feldes. Vor allem aber setzt sich der Beitrag – auf kritische Weise – mit dem anti-historischen und anti-politischen Zielpunkt seiner Ästhetik auseinander, die von Benjamin weit entfernt zu stehen kommt. Am Schluss steht der Vergleich zwischen zwei zeitgenössischen Werken, Le Musee imaginaire de la sculpture mondiale von Malraux und Les Statues meurent aussi, einem Film von Chris Marker und Alain Resnais.<br><br>Our paper deals with the work of André Malraux on the illustrations for his Musée imaginaire from the point of view of visual and cognitive experimentation. This work is explicitly inspired by the Benjamin of the »technical reproducibility« and the »author as producer.« We examine the opening of the imaginary field, as it is suggested by the praxis of the art book – an album of images that is supported by a certain kind of expressivity of framing, illumination and montage – in Malraux. Through this praxis of montage, Malraux constructs the authority of his visual style and the closure of the literary field. Above all, however, we discuss critically the anti-historical and anti-political destiny of his aesthetics, which in the end is quite far from Benjamin’s, and we conclude with a comparison between two contemporary artworks, namely Malraux’ Le Musee imaginaire de la sculpture mondiale and Les Statues meurent aussi, a film by Chris Marker and Alain Resnais.

Chris Marker

2013 ◽  
Author(s):  
Steven Jacobs ◽  
Sofie Verdoodt
Keyword(s):  
World War Ii ◽  
Air Force ◽  
United States Air Force ◽  
The United States ◽  
Marguerite Duras ◽  
World War ◽  
German Occupation ◽  
Alain Resnais ◽  
History Of ◽  
Chris Marker

Chris Marker is a pseudonym of Christian François Bouche-Villeneuve (b. 1921, Neuilly-sur-Seine, France–d. 2012, Paris, France), a French director, screenwriter, photographer, editor, writer, and multimedia artist. A major figure in the history of both experimental and documentary film, Marker turned out to be a mythic artist, who is always elusive about his past—even his place of birth is highly disputed (Ulan Bator, Mongolia, and Belleville, Paris compete with Neuilly-sur-Seine). In addition, Marker was known to refuse interviews and not allow photographs to be taken of him (though these claims are not entirely accurate). After studying philosophy prior to World War II, an involvement in the French Resistance during the German occupation, and having joined the United States Air Force as a paratrooper, Marker emerged as an intellectual, journalist, writer, and photographer in Paris in the 1940s. Already he showed a particular interest in filmmaking and he eventually made his debut as a filmmaker in 1952 with a documentary of the Helsinki Olympic Games. Soon after, he collaborated with Alain Resnais on Les Statues meurent aussi—both Marker and Resnais became key members (next to Agnès Varda, Jean Rouch, and Marguerite Duras) of the so-called Rive Gauche group. From the 1950s onward, Marker made seminal documentary essay films such as Dimanche à Pékin, Lettre de Sibérie, and Le Joli Mai. In 1962, he became known internationally for the short La Jetée (The Pier), which consists of still photographs. After his involvement in collective and radical filmmaking for SLON and ISKRA in the period 1967–1974, Marker made Sans Soleil, his best-known and most widely seen essay film that combines documentary and fiction. Already interested in the interactions between various media from the beginning of his career, Marker also developed into a leading video and multimedia artist beginning in the 1980s.

The Brain’s Cinematic Metaphors (Images of Thought, Thinking Forms)

2015 ◽  
pp. 85-101
Author(s):  
Didier Coureau
Keyword(s):  
Gilles Deleuze ◽  
Felix Guattari ◽  
Alain Resnais ◽  
Chris Marker

Cet article s’inscrit dans le prolongement d’une recherche que je mène depuis une vingtaine d’années sur les rapports entre cinéma et pensée. En m’appuyant en particulier sur les réflexions de Gilles Deleuze, Félix Guattari, Edgar Morin, j’ai ainsi pu créer les concepts de « complexité esthétique », « noosphère filmique », « cinématographie des flux ». Suite à l’évocation de créateurs-penseurs du cinéma muet d’avant-garde (Epstein, Dulac, Artaud), sont ici abordés des films d’Amos Gitaï, Chris Marker, Jean-Luc Godard, Alain Resnais et Andreï Tarkovski. L’intitulé, « Les métaphores filmiques du cerveau » indique que l’approche de la relation cinéma-cerveau est d’ordre philosophique, mais également d’ordre poétique. Si le cinéma est à même de donner forme à la pensée, il invente aussi des circuits cérébraux — sonores et visuels — qui lui permettent de devenir forme « pensante ».

Looking for Myriam

2016 ◽  
Vol 2 (3) ◽  
pp. 29-53 ◽  
Author(s):  
Monica Dall'Asta
Keyword(s):  
Detailed Analysis ◽  
Cultural Context ◽  
French Cinema ◽  
Alain Resnais ◽  
Found Footage ◽  
Michel Leiris ◽  
History Of ◽  
Andre Bazin ◽  
Chris Marker ◽  
Critical Notes

Despite the recent multiplication of studies in found footage cinema, the fog surrounding the figure of Myriam Borsoutsky remains thick. This article elaborates the rare extant information about her work to retrace an important chapter in the history of found footage cinema in France, in which women have played a major role. In an attempt to delineate a specifically female genealogy in the history of French compilation film, Myriam's work is studied alongside that of Nicole Vedrès, and situated in the cultural context of a net of relationships that includes other women, for instance Denise Tual and Yannick Bellon, as well as such masters of French cinema as Pierre Braunberger, Sacha Guitry, Henri Langlois, Alain Resnais, André Bazin, Chris Marker, Jean-Luc Godard, and Michel Leiris. A detailed analysis of two major works in this genealogy, Paris 1900 (dir. Nicole Vedrès, 1947) and Bullfight (dir. Myriam and Pierre Braunberger, 1951), draws upon Vedrès's own writings and André Bazin's critical notes on the films. The last section addresses the meaning of the neologism neomontage, coined by Bazin in his review of Bullfight to describe Myriam's “diabolical” editing abilities.

scholarly journals A sobrevivência da estátua

2020 ◽  
Vol 19 (30) ◽  
pp. 39-45
Author(s):  
André Piazera Zacchi
Keyword(s):  
Alain Resnais ◽  
Carl Einstein ◽  
Chris Marker ◽  
Manuel Bandeira

No poema de Manuel Bandeira o cacto é uma estátua. Essa estátua tomba e interrompe a vida na cidade. Na morte o cacto se historiciza e, nesse sentido, ganha vida. A montagem das imagens no poema e sua leitura vertical, livre, nos apontam para outras imagens como as da escultura negra de Carl Einstein e sua leitura por Chris Marker e Alain Resnais em As estátuas também morrem, ou imagens como as poses dos nativos em ¡Que viva México! de Eisenstein. A morte revolucionária e a intratabilidade fazem do cacto uma estátua sobrevivente.

scholarly journals El cine como máquina de pensamiento y control

2020 ◽  
Author(s):  
Mauricio Durán Castro
Keyword(s):  
Gilles Deleuze ◽  
Walter Benjamin ◽  
Felix Guattari ◽  
Giorgio Agamben ◽  
Stanley Kubrick ◽  
Alain Resnais ◽  
Sergei Eisenstein ◽  
Dziga Vertov ◽  
Siglo Xx ◽  
Chris Marker

Tanto en su complejidad mecánica como en su articulación con el cuerpo social, el cine puede ser comprendido como una máquina con una doble potencia: por un lado, tiene la capacidad de representar y narrar el mundo y el ser humano; y, por el otro, es un aparato de control y sometimiento de hombres y mujeres, que vigila y registra todo desde cualquier lugar y momento o, de manera más subrepticia, desde el poder hipnótico de sus imágenes, capaz de mover las emociones de las masas. Mauricio Durán Castro examina en este libro esta doble potencia del cine, como una creación que le permite al hombre moderno ampliar su mirada científica y filosófica y, a la vez, atrapar su inconsciente. De esta manera, el cine, con sus creadores y sus espectadores, es estudiado desde las ideas de máquina de guerra, aparato de control, dispositivo de visión y autómata. Este acercamiento crítico invita a revisar la obra de cineastas como Dziga Vertov, Jean Epstein, Sergei Eisenstein, Alfred Hitchcock, Roberto Rossellini, Stanley Kubrick, Alain Resnais, Jean-Luc Godard, Harun Farocki o Chris Marker, a partir de las conceptualizaciones de importantes pensadores del siglo XX, como Gilles Deleuze, Félix Guattari, Walter Benjamin, Michel Foucault, Giorgio Agamben y Henri Bergson.

scholarly journals recuerdo de una mirada

Designio ◽  
2020 ◽  
Vol 2 (1) ◽  
pp. 84-103
Author(s):  
Edwin Culp Morando
Keyword(s):  
Alain Resnais ◽  
Chris Marker

En este texto se analiza la relación entre mirada y memoria en el cine como una serie de interacciones que tienen lugar en las superficies de sus imágenes y recuerdos. Ante aquellas experiencias empobrecidas por la aniquilación del pasado en la guerra, por la desesperanza e imposibilidad de imaginar el porvenir o la desazón por la desconexión del mundo, el cine puede volcar la mirada a la virtualidad. Puede dar a ver ahí, donde ya solo pueden verse destellos; puede hacernos recordar incluso aquello que nunca hemos vivido. A partir del análisis de tres (3) películas célebres por las relaciones que establecen entre imagen, mirada y recuerdo, pero también por las experiencias que narran; La jetée (1962) del director Chris Marker, Hiroshima, mon amor (1959) de Alain Resnais, y Le Fabuleux destin d’Amélie Poulain (2001) dirigida por el director Jean-Pierre Jeunet. Así, el autor produce una caracterización de algunos fenómenos que se dan al nivel de la superficie de la imagen.

From Pompeii to Marienbad: Classical Sculptures in Postwar European Modernist Cinema

2017 ◽  
pp. 118-136
Author(s):  
Steven Jacobs ◽  
Lisa Colpaert
Keyword(s):  
Human Body ◽  
Time History ◽  
Alain Resnais ◽  
Death Time ◽  
Roberto Rossellini ◽  
Significant Motif ◽  
The 1950S ◽  
Luchino Visconti ◽  
Chris Marker

The statue is a significant motif in many key films of the European modernist cinema of the 1950s and 1960s. Famous examples are Les Statues meurent aussi (Alain Resnais and Chris Marker, 1953), Viaggio in Italia (Roberto Rossellini, 1953), L’Année dernière à Marienbad (Alain Resnais, 1961), La Jetée (Chris Marker, 1962), Jules et Jim (François Truffaut, 1962), Méditerranée ( Jean-Daniel Pollet, 1963), Le Mépris ( Jean-Luc Godard, 1963), Il Gattopardo (Luchino Visconti, 1963), Une Femme mariée ( Jean-Luc Godard, 1964), Gertrud (Carl Theodor Dreyer, 1964), and Vaghe stelle dell’orsa (Luchino Visconti, 1965). Focusing on Rossellini’s Viaggio in Italia (Journey to Italy, 1953) and Resnais’ L’Année dernière à Marienbad (Last Year in Marienbad, 1961) as cases in point, this chapter not only traces the fascination for sculpture in modernist cinema but also explains it by examining the ways in which statues are presented as tokens of death, time, history, myth, memory, the human body, and strategies of doubling – important topics for many of the leading modernist directors working in the 1950s and 1960s.

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