1973
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5 days ago · Chris Marker stands out as a visionary filmmaker who masterfully blurred the lines between reality and fiction, influencing generations of directors and storytellers. His work, particularly in films like "Sunless," dismantles traditional documentary norms, merging personal anecdotes with cultural observations to forge a unique cinematic language.
Jun 21, 2024 · Join Goodreads. Chris Marker > Quotes > Quotable Quote. (?) “I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember. We rewrite memory much as history is rewritten. How can one remember thirst?” ― Chris Marker. tags: sans-soleil.
6 days ago · "Chris Marker, filmmaker, poet, novelist, photographer, editor, and now videographer and digital multimedia artist, has been challenging moviegoers, philosophers, and himself for years with his complex queries about time, memory, and the rapid advancement of life on this planet.
6 days ago · All these flourishes and contrivances highlight the poetry of quotidian happenings in a way that recalls a quote Chris Marker’s narration iterates in Sans Soleil while waxing poetic about the sentimental lyricism and minutely attuned poignancy of the aristocratic class during the era of the 11 th century Heian dynasty:
Jun 13, 2024 · Chris Marker spent his career playing with the lines between fact and fiction. Known by many pseudonyms (of which Marker was only the most prominent), he worked as a filmmaker, novelist, poet, and visual artist across the second half of the twentieth century.
Jun 21, 2024 · Chris Marker — ‘Who said that time heals all wounds? It would be better to say that time heals everything - except wounds. With time, the hurt of separat...
Jun 28, 2024 · At one end of the current exhibition, Chris Marker and Alain Resnais’ film, "Les Statues Meurent Aussi", plays on a loop, exemplifying the anthropological heritage that Marc Augé called its “double relativity” (“for, as we know, others also define what is for them ‘the other’” [1998: xvi]); and, at the other end, there is a gallery addressing the ethics of photography (as an instance of the gaze in ethnography), under the indicative curatorial title “omissions”.
