Published by Whitechapel Gallery. Edited by Chris Darke, Magnus af Petersens, Habda Rashid. Text by Christine Van Assche, Chris Darke, Nicola Mazzanti, Raymond Bellour, Arnaud Lambert, Chris Marker.
Illustrated throughout, the book charts Marker's unique commentaries on societies at times of upheaval, from his early writing and photography to his later use of CD-ROM and appropriation of web technology. Integrating his films within the display, it also brings together for the first time all of Marker's multimedia installations.
Alongside a wealth of images that chart Marker's substantial creative output, Chris Marker: A Grin Without a Cat also explores the filmmaker's shift from word to image, the commissioning of his multimedia installations and the subsequent interplay of media. It includes key essays by the curators Christine van Assche, Chief Curator, Centre Pompidou, Paris, writer and film critic Chris Darke, and Whitechapel Gallery curators Magnus Af Petersens (Chief Curator) and Habda Rashid (Assistant Curator); texts by critics Raymond Bellour and Arnaud Lambert; plus the first English translations of two key early writings by Marker, an essay on Jean Cocteau’s film Orphée (1950) and his short story Till the End of Time (1947), which takes place the day after VJ day amidst a torrential rainstorm and features a demobilised soldier subject to apocalyptic visions, anticipating Marker’s most famous film, La Jetée (1962).
Chris Marker (1921-2012), born Christian François Bouche-Villeneuve in Paris, was a prescient multi-media filmmaker as well as a writer, editor, poet, cartoonist, and activist. Marker completed his first feature film Olympia 52 in 1952 and soon became affiliated with the Left Bank Cinema movement that included filmmakers such as Alain Resnais and Agnès Varda. In 1962 he made his best-known film, La Jetée, which won him an international audience. A great lover of cats, when asked for a photograph of himself he would send a picture of a cat.
BOOK FORMAT Paperback, 9.5 x 11 in. / 136 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 7/31/2014 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 54
PRODUCT DETAILS ISBN 9780854882281TRADE List Price: $45.00 CDN $60.00
AVAILABILITY In stock
in stock $45.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Peter Blum Edition, New York. Foreword by Peter Blum. Text by Chris Marker.
“Tabloids love to catch people unaware,” writes the legendary film auteur Chris Marker (born 1921) in his introduction to this beautiful volume of new photographs. “My aim… is exactly—small wonder—the opposite of tabloids. I try to give them their best moment, often imperceptible in the stream of time, sometimes 1/50 of a second that makes them truer to their inner selves.” Passengers accordingly portrays the private reveries and absent-minded gestures that can be seen every day on the Paris Métro (and by implication any other subway): mothers cradling their children, couples whispering intimately, women wistfully staring out the window or into the middle distance, engrossed in thought. Made between 2008 and 2010, this series of 200 photographs—Marker’s first in color—marvelously captures the dislocated mental spaces we occupy on the subway, and the ways in which we devise strategies for escapism, sending out invisible boundaries to endure the constant tiny encroachments of modern urban life. Marker enhances his photographs to draw out both the blotchy pixilation of the lo-fi digital technology used and to add painterly coloration, endowing them with otherworldly presence. A separate color poster by Marker titled “A Subway Quartet” is inserted beneath the printed glassine wrappers of each copy.
Filmmaker, photographer, writer and traveler Chris Marker (1921–2012) never respected the boundaries between genres. His landmark 1962 film La Jetée is made up almost entirely of stills, its one moving image as thrilling as the Lumières’ films must have been for their original audiences. Marker’s films (including the features Sans Soleiland Level Five) 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, Marker used the format of the CD-ROM to create a multi-layered, multimedia memoir. The reader investigates “zones” of travel, war, cinema and poetry, navigating through photographs, film clips, music and text, as if physically exploring Marker’s memory itself. The result is a veritable 21st-century Remembrance of Things Past, an exploration of the state of memory in our digital era. With it, Marker has both invented a literary form and perfected it.
System requirements: for Macintosh computers running System 7.5 through Mac OS 9 (including the “classic environment” of Mac OS X).