Download Chris Marker: La Jetée (One Work Series) by Janet Harbord PDF

By Janet Harbord

A reconsideration of Chris Marker's well-known movie, analyzing its remedy of time, its use of sound, the effect of the comedian e-book shape, and different topics.

Chris Marker's mythical "ciné roman" ("film novel") La Jetée is taken into account one of many maximum and such a lot influential experimental motion pictures of all time. This brief film—a postapocalyptic tale composed virtually fullyyt of black-and-white nonetheless photographs—has been praised by way of cultural theorists and Netflix subscribers alike.

In this illustrated examine of La Jetée, Janet Harbord focuses partly at the film's remedy of time—its shifts from a pre-war previous to a projected destiny one other way forward for the longer term (each with its personal signature photographs and sound)—arguing that during this fashion it addresses the character of recognition and the simultaneity of time-frames that we inhabit. Harbord strikes simply from a detailed studying of the movie to discussions of broader cultural matters, lucidly piecing jointly the enigma that's La Jetée.

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Additional resources for Chris Marker: La Jetée (One Work Series)

Sample text

18 The man’s fate is sealed in this twice-lived moment, but so, too, is ours, for we also have been here before. Photography after History In a short piece of writing to accompany the digital release of La Jetée in 2003, Marker gives us a memory, a recollection of his first attempt at making a film. Inspired as a boy by a hand-wound projecting box, a Patheorama, he drew a series of pictures of his cat, glued them together and added captions. As he scrolled the images along, ‘all of a sudden, the cat belonged to the same universe as the characters in Ben Hur or Napoleon.

These images lend themselves to the swarming possibilities of Kracauer’s snowstorm. But to attend to the specifics, there are two portraits that stand out: a close shot of a small girl and an image of a woman in a room. The girl looks off to the left, as though there is something or someone that she has to pay attention to out of frame. That we are denied the information of a larger frame, and the object of the child’s attention, creates an eerie atmosphere. In a similarly uncanny image, the woman standing by a window stares straight into the lens, unsmiling, as though she is presenting herself for a formal occasion, but we cannot tell.

But to attend to the specifics, there are two portraits that stand out: a close shot of a small girl and an image of a woman in a room. The girl looks off to the left, as though there is something or someone that she has to pay attention to out of frame. That we are denied the information of a larger frame, and the object of the child’s attention, creates an eerie atmosphere. In a similarly uncanny image, the woman standing by a window stares straight into the lens, unsmiling, as though she is presenting herself for a formal occasion, but we cannot tell.

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