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X-WR-CALNAME:For Chris Marker on Plancast
X-WR-CALDESC:The Sorbonne should be razed and Chris Marker put up in its place. - Henri Michaux

As a tribute to Chris Marker, who passed away last month, Light...
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DTSTART;TZID=UTC:20120825T190000Z
DTEND;TZID=UTC:20120825T190000Z
UID:a576793@plancast.com
SUMMARY:For Chris Marker
DESCRIPTION:The Sorbonne should be razed and Chris Marker put up in its
 place. - Henri Michaux\n
 \n
 As a tribute to Chris Marker\, who passed away last month\, Light
 Industry is hosting a free\, all-day screening of his films\,
 with introductory remarks and remembrances by Paul Chan\, Thomas
 Keenan\, Tom McDonough\, Molly Nesbit\, Martha Rosler\, Jason
 Simon\, and Amy Taubin\, among others.\n
 \n
 Marker began filmmaking in Paris in the 1950s\, after working as
 a journalist and photographer in the years following the war.
 Among his earliest efforts were collaborations with Alain
 Resnais\, which include Statues Also Die\, an anti-colonialist
 meditation on African art\, and All the Memory of the World\, a
 portrait of France’s Bibliotheque Nationale. Memory—its
 fugitive nature\, its emotional power\, its political
 implications—would become be a major theme of his work\,
 providing the conceptual core of his most widely known film\, La
 Jetée. A post-apocalyptic time-travel tale told primarily in
 still images\, it was praised by J.G. Ballard\, William Gibson
 and others as one of the greatest achievements of science-fiction
 cinema. Most of Marker’s oeuvre\, however\, presents the most
 advanced developments in the essay film\, a hybrid genre that
 Marker might as well have invented. His first feature film\,
 Letter from Siberia\, already constitutes the basics of the essay
 film à la Marker: an epistolary travelogue\, allusive\,
 elliptical and digressive\, unfolding through a mixture of
 black-and-white and color footage\, archival documentary\, still
 photos\, and animation. Marker’s penchant for presenting images
 of reality through intricately constructed fictions reaches its
 apogee with Sans Soleil\, a philosophical masterwork told via a
 nested set of invented personae who narrate journeys through
 Japan\, Iceland\, France\, Cape Verde\, and Guinea-Bissau.\n
 \n
 The ongoing travails of the Left would serve as another major
 concern in Marker’s work\, seen early on in Le Joli mai\, which
 attempts to give a picture of France’s collective psyche at the
 end of the Algerian War through citizen-on-the-street
 interviews\, and later in A Grin Without a Cat\, his response to
 the global revolutionary movements of the 1960s and 70s that J.
 Hoberman dubbed a “montage film with a mass hero” in the
 Eisensteinian tradition. The question of cinema’s revolutionary
 potential is raised in The Last Bolshevik\, an extended analysis
 of the work of Soviet director Aleksandr Medvedkin\, who went
 from crafting idiosyncratic works of socialist-surrealism to
 producing anonymous propaganda under Stalin. In his 80s\, Marker
 returned to the streets of Paris to shoot The Case of the
 Grinning Cat\, which investigates the mysterious spread of a
 smiling feline graffito as a way to think about the after-effects
 of September 11\, the rise of French right-wing extremism\, and
 the enduring possibility for radical action. His response to the
 political situation of the 21st century calls to mind a Marker
 quote that circulated widely following his death: “Rarely has
 reality needed so much to be imagined.”\n
 \n
 10am\n
 Collaborations with Alain Resnais\n
 Statues Also Die\, digital projection\, 1953\, 30 mins\n
 All the Memory of the World\, digital projection\, 1955\, 22
 mins\n
 Introduced by Tom McDonough\n
 \n
 11:15am\n
 Sans soleil\, 16mm\, 1982\, 100 mins\n
 Introduced by Amy Taubin\n
 \n
 1:15pm\n
 La Jetée\, 16mm\, 1962\, 28 mins\n
 Introduced by Molly Nesbit\n
 \n
 2pm\n
 Le Joli mai\, digital projection\, 1963\, 165 mins\n
 Introduced by Jason Simon\n
 \n
 5pm\n
 A Grin Without a Cat\, digital projection\, 1977\, 180 mins\n
 Introduced by Thomas Keenan\n
 \n
 8:15pm\n
 Letter from Siberia\, digital projection\, 1957\, 62 mins\n
 Introduced by Martha Rosler\n
 \n
 9:45pm\n
 The Last Bolshevik\, digital projection\, 1992\, 120 mins\n
 Introduced by Paul Chan\n
 \n
 Midnight\n
 The Case of the Grinning Cat\, digital projection\, 2004\, 58
 mins\n
 \n
 All shows are free. Seating is available on a first-come\,
 first-served basis. Doors open at 9am. Marker&#039\;s 1997 CD-Rom
 project Immemory and a selection of materials related to his
 work—posters\, books—will be on view in Light
 Industry&#039\;s office before and after screenings.\n
 \n
 Special thanks to Icarus Films\, Institut Francais\, and New
 Yorker Films.\n
 \n
 When: Saturday\, August 25\, 2012 at 12:00 PM - Sunday\, August
 26\, 2012 at 12:00 PM (Timezone: America/Los_Angeles)\n
 Where: Light Industry\n
 Attendees: 3 http://plancast.com/p/cd21
URL:http://plancast.com/p/cd21
DTSTAMP:20120802T031922Z
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