I’m starting this thread so we can compile a database of Chris Marker’s work sources since it is so hard to find.
There’s a whole lot of films I’ve seen recently which seem to feature the credit “& Chris Marker”. Prolific guy.
Anyway here’s a list copied from everyone’s favorite download site (which has but 28/45 of these films available) to start off. I gather it’s mostly based on the IMDB listing which isn’t complete:
01. Chats perchés (2004) (TV) aka The Case of the Grinning Cat
02. Le Souvenir dun avenir (2001) aka Remembrance of Things to Come
03. “Cinéma, de notre temps” (1 episode, 2000)
- One Day in the Life of Andrei Arsenevich (Tarkovsky) (2000)
04. Un maire au Kosovo (2000)
05. Level Five (1997)
06. Casque bleu (1995)
07. 20 heures dans les camps, Le (1993)
08. Tombeau d’Alexandre, Le (1992) aka The Last Bolshevik
09. Facteur sonne toujours cheval, Le (1992) (TV)
10. Berliner Ballade (1990) (TV)
11. “Héritage de la chouette, L’” (1989) TV mini-series aka The Owl’s Legacy
12. Mémoires pour Simone (1986)
13. A.K. (Akira Kurosawa) (1985)
14. From Chris to Christo (1985)
15. 2084 (1984)
16. Sans soleil (1983) aka Bez solntsa Sunless
17. Junkopia (1981)
18. Le Fond de l’air est rouge (1977) aka Grin Without A Cat
19. Solitude du chanteur de fond, La (1974) aka The Loneliness of the Long Distance Singer
20. Ambassade, L’ (1973)
21. Vive la baleine (1972)
22. Bataille des dix millions, La (1971) aka Cuba: Battle of the 10,000,000 (USA) aka The Battle of the Ten Million
23. On vous parle de Prague: le deuxième procès d’Artur London (1971)
24. The Train Rolls on (1971) aka Le Train en Marche
25. Carlos Marighela (1970)
26. Mots ont un sens, Les (1970)
27. Jour de tournage (1969)
28. Classe de lutte (1969)
29. On vous parle du Brésil (1969)
30. À bientôt, j’espère (1968) aka Be Seeing You
31. Sixième face du pentagone, La (1968) aka The Sixth Face of the Pentagon
32. Cinétracts (1968) (uncredited)
33. Loin du Vietnam (1967) (supervising) aka Far from Vietnam (USA)
34. Rhodiacéta (1967)
35. Si j’avais quatre dromadaires (1966) aka If I Had Four Dromedaries
36. Mystère Koumiko, Le (1965) aka The Koumiko Mystery (USA)
37. Joli mai, Le (1963)
38. La Jetée (1962) aka The Pier
39. ¡Cuba Sí! (1961)
40. Description d’un combat (1960) aka Description of a Struggle
41. Les Astronautes (1959) with Walerian Borowczyk
42. Lettre de Sibérie (1957) aka Letter from Siberia
43. Dimanche à Pekin (1956) aka Sunday in Peking
44. Statues meurent aussi, Les (1953) aka Statues Also Die with Alain Resnais
45. Olympia 52 (1952)
L’Amérique insolite (1960) aka America As Seen by a Frenchman
Bestiare 2: An owl is An owl is an owl (1990)
Thanks. Thats quite a filmography. Is there anywhere online like youtube where we can find his works?
FILM, VIDEO AND MULTIMEDIA WORKS
(16mm blown up to 35mm, 82 minutes)
Dimanche à Pékin (Sunday in Peking)
(16mm blown up to 35mm, 22 minutes)
Lettre de Sibérie (Letter from Siberia)
(16mm blown up to 35mm, 62 minutes)
Description d’un combat (Description of a Struggle)
(35mm, 60 minutes)
(16mm blown up to 35mm, 52 minutes)
(35mm, 29 minutes)
Le Joli mai
(35mm, original version 165 minutes; current UK version 118 minutes)
Le Mystère Koumiko (The Koumiko Mystery)
(16mm blown up to 35mm, 54 minutes)
Si j’avais quatre dromadaires (If I Had Four Camels)
(35mm, 49 minutes)
On vous parle de Brésil: Tortures
(16mm, 20 minutes)
Jour de Tournage
(16mm, 11 minutes)
On vous parle du Brésil: Carlos Marighela
(16mm, 17 minutes)
On vous parle de Paris: Maspero, les mots ont un sens
(16mm, 20 minutes)
La Bataille des dix millions (The Battle of the Ten Million)
(16mm, 58 minutes)
On vous parle de Prague: Le Deuxième procès d’Artur London
(16mm, 28 minutes)
Le Train en marche (The Train Rolls On)
(16mm, 32 minutes)
On vous parle du Chili: Ce que disait Allende
(16mm, 16 minutes)
(Super 8, 20 minutes)
La Solitude du chanteur de fond (The Loneliness of the Long Distance Singer)
(16mm blown up to 35mm, 60 minutes)
Le Fond de l’air est rouge (A Grin Without a Cat, 1988)
(16mm blown up to 35mm, 240/180 minutes)
Quand le siècle a pris formes (or War and Revolution)
(Installation: Video U-matic on 2 monitors, 16 minutes loop)
(16mm blown up to 35mm, 6 minutes)
Sans soleil (Sunless)
(16mm blown up to 35mm, 100 minutes)
(35mm, 10 minutes)
(35mm, 74 minutes)
Mémoires pour Simone
(35mm, 61 minutes)
L’Héritage de la chouette (The Owl’s Legacy) [television series]
(Video, 13 × 26 minutes)
Berliner ballade [television report]
(Video Hi 8, 20 minutes)
Getting Away With It [music video for Electronic]
(Video, 4 minutes)
Zapping Zone (Proposals for an Imaginary Television)
(Installation: 14 monitors, 13 laser disc players, 13 speakers, 13 video discs, 7 computers,
7 computer programs, 4 lightboxes with 80 slides, 11 colour photos, 10 black and white
photos, 7 photomontages)
Inclusions in Zapping Zone:
(S-VHS Video, 14 minutes 18 seconds)
Christo ’85 (or From Chris to Christo)
(S-VHS Video, 24 minutes)
(S-VHS Video, 26 minutes)
(Video, 20 minutes)
Bestiaire: Chat écoutant la musique (2 minutes 47 seconds); An Owl Is an Owl is an Owl
(3 minutes 18 seconds); Zoo Piece (2 minutes 45 seconds)
(Total running time: 9 minutes 4 seconds)
(Video, 27 minutes)
(Video, 24 minutes)
(Hi 8, 20 minutes 35 seconds)
(301 photos, 17 minutes 20 seconds)
(Video, 8 minutes 2 seconds)
Théorie des ensembles
(Computer animation, 13 minutes)
Additions to Zapping Zone:
Coin fenêtre (1992)
(Hi 8, 9 minutes 35 seconds)
Slon Tango (1993)
(Hi 8, 4 minutes 15 seconds)
(Hi 8, 4 minutes 12 seconds)
(Video, 8 minutes 13 seconds)
Le Tombeau d’Alexandre (The Last Bolshevik) [television programme]
(Hi 8, 118 minutes)
Le 20 heures dans les camps (Prime Time in the Camps)
(Hi 8, 27 minutes)
Three Video Haikus:
Petite ceinture (1 minute)
Tchaika (1 minute 29 seconds)
Owl Gets in Your Eyes (1 minute 10 seconds)
(Installation: metal stand, 5 monitors, 5 laser disc players, computer interface box, 5 video
discs with 20 minute sequences: The Journey, The Face, Captions, The Gesture, The Waltz;
18 black and white video stills, 10 film posters, soundtrack ‘The Perfect Tapeur’, solo piano
pieces lasting 59 minutes 32 seconds)
Casque bleu (or Témoignage d’un casque bleu)
(Betacam, 27 minutes)
(Beta-SP blown up to 35mm, 106 minutes)
(Interactive CD-ROM installation: 2 video projectors, 1 video monitor, 3 computers)
Une Journée d’Andrei Arsenevich (One Day in the Life of Andrei Arsenevich) [television]
(Video, 56 minutes)
Un Maire au Kosovo [unreleased]
(Video, 27 minutes)
Avril inquiet [unreleased]
(Video, 52 minutes)
Le souvenir d’un avenir (Remembrance of Things to Come)
Chats perchés (The Case of the Grinning Cat)
Source: Chris Marker: Memories of the Future (Catherine Lupton)
FILM AND VIDEO COLLABORATIONS
Night and Fog / Nuit et Brouillard (Alain Resnais, 1955, 32m)
Marker is listed as one of three assistant directors involved in this landmark essay film about Nazi concentration camps. In a 1995 interview Resnais states that the final version of the commentary was a collaboration between Marker and Jean Cayrol.
Toute la mémoire du monde (Alain Resnais, 1956, 22m)
A documentary about the Bibliothèque Nationale, France’s national library. In the credits, “Chris and Magic” Marker are listed as collaborators.
Les Hommes de la baleine (Mario Ruspoli, 1956, 26m)
Under the pseudonym “Jacopo Berenizi” Marker wrote the commentary for this short about whale hunters in the Azores. The two would return to this topic in 1972’s Vive la Baleine.
Broadway by Light (William Klein, 1957, 10m)
Klein’s first film is an illustration and defense of the Times Square movie marquee. In the credits, Marker is listed as the author of the film’s subtitles· but there aren’t any. According to Anatole Dauman’s memoir Souvenir-Écran, however, he wrote the short text which appears onscreen at the very beginning.
Le Mystère de l’atelier quinze (Alain Resnais/André Heinrich, 1957, 18m)
Marker wrote the commentary for this fictional short, a PSA promoting safety in the workplace, which centers on a doctor trying to discover the cause of a factory worker’s sudden illness.
Des Hommes dans le ciel (Jean-Jacques Languepin/A.Suire, 1958. Commentary: Marker)
No information available about this film. Languepin made a number of documentaries about explorers, mountain climbers, and athletes during the Fifties and Sixties.
Le Siècle a soif (Raymond Vogel, 1958. Commentary: Marker)
A short film about fruit juice with commentary in Alexandrine verse.
La Mer et les jours (Raymond Vogel/Alain Kaminker, 1958, 22m. Commentary: Marker)
A somber work about the daily lives of fishermen on Brittany’s Île de Sein.
Les Astronautes (Walerian Borowczyk, 1959, 14m)
Although Marker’s name appears in the credits, the extent of his participation in this animated short about an amateur space traveler (and his pet owl Anabase) is unknown.
Django Reinhardt (Paul Paviot, 1959, 22m. Commentary: Marker)
A biographical short recounting Reinhardt’s career, placing special emphasis on his Manouche roots.
L’Amérique Insolite (François Reichenbach, 1960, 86m)
An affectionate catalogue of the tics and foibles of America in the late Fifties. While it incorporates generous portions of the commentary Marker eventually published as “L’Amérique Rêve” in Commentaires I, it does not give him a writing credit.
Jouer à Paris (Catherine Varlin, 1962, 27m)
Edited by Marker, this film is a 27-minute postscript to Le Joli Mai assembled from leftover footage and organized around a new commentary.
·à Valparaiso (Joris Ivens, 1963, 29m. Commentary: Marker)
Ivens and Marker’s draught a poetic map of one of Chile’s major port cities. Text and images gracefully link geography with psychology, music with history, and class analysis with penguins, as if nothing could be more natural.
Les Chemins de la fortune (Pierre Kassovitz, 1964, 42m)
Marker helped Kassovitz finish this clever and insightful travelogue about Venezuela, which in Markerian geography appears to be located halfway between Siberia and Valparaiso·
La Douceur du village (François Reichenbach, 1964, 47m)
Reichenbach’s beautiful color short, edited by Marker, reproduces the rhythms of rural France. Life in the small town of Loué is broken down into its component parts-notably love, death, war, morals, spelling, orchestra rehearsals, and a hymn to the cow.
La Brûlure de mille soleils (Pierre Kast, 1964, 25m)
Marker edited this (mostly) animated science-fiction short and (possibly) collaborated on the script. A depressive millionaire-poet, accompanied by his cat Marcel and a robot semantician, travels in time to shake a persistent feeling of ennui and falls hopelessly in love with a woman from another planet.
Le Volcan interdit (Haroun Tazieff, 1965, 55m. Commentary: Marker)
Tazieff was one of the world’s foremost volcanologists. The film depicts a series of active volcanoes and documents an expedition to the bottom of Mount Nyiragongo in the former Congo.
Europort-Rotterdam (Joris Ivens, 1966, 20m)
Marker is credited with adapting Dutch poet and novelist Gerrit Kouwenaar’s text, itself a reworking of the legend of the Flying Dutchman. Condemned to eternal wandering, the latter is permitted to visit Rotterdam once every century. When he returns this time, he sees the city with fresh eyes, and in turn inspires others to question their assumptions about urban space.
When student revolts and rampant strikes exploded in May ‘68, Marker contacted a number of people (including Jean-Luc Godard, Philippe Garrel, Jackie Raynal, and Alain Resnais) to make two to three minute 16mm silent films encouraging political resistance. The resulting Ciné-Tracts were meant to be screened at meetings and demonstrations. Marker supposedly made several of them, notably number 5, Mouvement étudiant débouchant sur mouvement ouvrier (ou C’était la nuit·), but since the films are anonymous, specifics remain sketchy.
Classe de Lutte (Besançon Medvedkin Group, 1969, 37m)
One of the finest examples of the politically engaged French documentary cinema of the late Sixties. The film centers on Suzanne Zéda, a young factory worker and militant activist in the CGT trade union. Marker might have served as consultant but sources differ as to his exact role.
On vous parle de Flins (Guy Devart, 1969/70, 30m)
Number seven in SLON’s On vous parle· series. Marker helped film and edit this short, which deals with how the exploitation of immigrant workers at a Renault factory in Flins was abetted by the mayor’s office in nearby Meulan.
L’Afrique express (Danièle Tessier/Jacques Lang, 1970, 18m)
Marker wrote the introductory text for this film under the name “Boris Villeneuve.”
L’Aveu (Constantin Costa-Gavras, 1970, 135m)
A political dramatization of Arthur London’s experiences during the Communist purges in Czechoslovakia (see On vous parle de Prague). Marker was responsible for the still photography.
Die Kamera in der Fabrik (Chris Marker/SLON/Medvedkin Group, 1970, 88m)
Apparently, this rare film is a continuous edit of À bientôt, j’espère and Classe de Lutte, made for German TV.
L’Animal en question aka Jacques Prévert et· un raton laveur (collective film, 1970, 38m)
Marker filmed the raccoon of the title for this documentary about poet Prévert’s life and work.
Le Bonheur (Alexander Medvedkin, 1934/1971, 70m)
When Medvedkin’s silent masterpiece Happiness was revived in 1971, it was screened with a soundtrack specially created by Marker and SLON.
El primer año (Patricio Guzman, 1971/1972, 90m)
A documentary about the first year of the Allende government in Chile. Marker helped with the French version of the film, which was distributed by SLON.
On vous parle de Chili: Ce que disait Allende (Miguel Littin, 1973, 16m)
Marker edited and supervised the post-production on this SLON film by Chilean exile Littin, a prominent feature filmmaker (The Jackal of Nahueltoro, The Promised Land) and former head of Chile’s state film agency.
Les deux mémoires (Jorge Semprun, 1973-74, 141m)
Marker handled sound and helped with the editing on writer Semprun’s documentary about the Spanish Civil War.
Kashima Paradise (Yann Le Masson/Bénie Deswarte, 1974, 110m)
Marker collaborated on the commentary for this militant documentary about how Japanese corporations manipulated, exploited, and essentially destroyed farming communities in Kashima and Narita. Includes harrowing footage of the Narita airport protests.
The Battle of Chile / La Batalla de Chile: La Lucha de un Pueblo Sin Armas (Patricio Guzman, 1975-1976. Part 1: The Insurrection of the Bourgeoisie, 96m. Part 2: The Coup d’État, 88m)
Marker helped produce Guzman’s epic documentary about the extreme right’s violent overthrow of the Allende government in Chile. He also contributed to the screenplay.
Viva el Presidente! aka Le recours de la méthode (Miguel Littin, 1978, 164m)
Marker prepared the subtitles for the French version of this magical realist satire, an adaptation of Alejo Carpentier’s novel El recurso del método, by Chilean director Littin.
Tokyo-Ga (Wim Wenders, 1985, 92m)
The German director’s diary film features encounters with Ozu actor Chishu Ryu and cameraman Yuharu Atsuta. Marker appears in a single playful shot, briefly glimpsed behind a newspaper.
Les Pyramides Bleues aka The Novice, aka Paradise Calling (Arielle Dombasle, 1988, 97m)
Marker and Eric Rohmer served as artistic consultants on this film, which stars Omar Sharif and Dombasle herself. A few stills and a short video clip are posted on the director’s website: www Arielle-dombasle.net.
One Sister and Many Brothers (1994, Dusan Makavejev, 4m)
A home movie, sort of: Marker tapes Makavejev circulating among the guests of a party in his honor as much jovial backslapping abounds. Trying to pull a fast one, the Serbian master attempts to trick Marker into shooting himself in a mirror – Marker’s cartoon cat is not amused.
Souvenir (Michael Shamberg, 1997, 78m) Marker created computer graphics for Shamberg’s first film.
Source: Film Comment
Some additions to arsaib’s first list of Chris Marker’s Films, Videos and Multimedia Works: Marker has uploaded the following under the pseudonym Kosinki on youtube.
Pictures At An Exhibition
The Morning After
“everyone’s favorite download site”
Going by Sanjuro’s 28/45, it is surrealmoviez :)
I have not as of yet figured out how to use that site. I search for anything in it and it says “It is not found”, even when people claim that the movie is on there.
Does anybody know where I might be able to track down ‘Description of a Struggle’ (1961), either online or on DVD/VHS?
It’s available on Karagarga if you can get access to there. (can’t help you personally, sorry)
Use the “Directors collections”, that’s an easier way to navigate (the search function doesn’t work too well).
Did anyone know Chris Marker had a website? Did you also know you can watch films of his for free there?
Thanks to Danny Kasman for posting this in Notebook.
I am re-posting something I’d added in the comments section of Daniel Kasman’s post on the Gorgomancy link, so that the links below have wider circulation.
The gorgomancy link has been circulating surreptitiously for sometime among admirers, like so many other things Marker. Thanks for giving it a wider public dissemination, Mr Kasman. In that labyrinth is available a film that few have seen, Memoires Pour Simone. For those who speak French, here it is:
I’d also take this opportunity to link to another of Marker’s lives (Alexandre Kha), which hasn’t had as much circulation. The name of the blog, as it must be apparent to Marker fans, is taken from an early Resnais short for which Marker wrote the commentary, a film that is sadly unavailable. There is much precious treasure here, including a mathematical thriller on Fermat’s last theorem, again, for those who know French. We, the less fortunate ones, have to get by with google translate :(
Related to the the atelier15 blog and extending the suite of sketches under L’Attrapeur d’Images which was published as a book in 2009, is another flicker blog belonging to Mister Kha. Reading the comments inserted within the images is fascinating, and thankfully it is in English :)
Mister Kha’s photostream has been a a sort of companion for me in the last couple of years. Every new image posted told me that Mister Kha was feeling fine. Sadly, there will be no new posts there. But, like everything Marker, one can spend a lifetime looking at and thinking about those images.
Where can I see Cuba Si! ? With english subs
I knew about Gorgomancy but didn’t know about the other two links, thanks so much Chasing Butterflies.
I feel like we still have not seen all of the secrets Chris left in store for us. I would not be surprised if he had films that he planned to only be released after his death. If there was ever an artist that truly felt “immortal” it’s him. It still feels like he isn’t really gone…
Definitely the Tupac Shakur of cinema, only his Coachella resurrection will be a hologram of that animated cat he puts on his CD-ROMs in some basement.
POLARIS, you may also be eluding to this, but as I mentioned before, Marker had wanted to find some way of making his avatar in Second Life “eternal” so that it basically stayed logged in all the time…even after his death…and would use his “Memories” to converse with people.
I feel like he actually could have just created a bot that would do something similar…but a hologram of Guillaume? I don’t think it’s out of the question. In fact, it’d be neat if artists and friends of Marker continued putting Guillaume in all sorts of works. That may have been Marker’s plan all along…
A former professor of mine said that he was going to do an interview with Marker in Second Life (I know Marker’s done others) and invited me along, but it was just never put together. I’d like to think we could visit the location anyway and get all the information we need. I need to call him (my former professor) anyway as there’s a few things I’m putting together I need his help with.
But anyway, yeah, I had forgotten the avatar’s name was Guillaume, but that’s who I mean.
re: alexandre kha, was it asserted that he = chris marker? i have heard this elsewhere too, what with the penchant for pseudonyms… but i think he is just a cartoonist & RABID marker fan. part of me imagines that he’s the dude who took care of marker’s cats when he was abroad, but…
only a few of his projects (l’attrapeur d’images & la disparue) seem to involve the nemo lowkat character (not counting the one-off panels in his photostream). if it was marker it was an incredibly elaborate game involving a fake bio (b. 1969), etc.. wouldn’t put it past him! but it isn’t ringing true for me… if anyone has proof, i’d like to know bout dat
The proof, Anja, is in the images. It is a compressed history of the twentieth century, especially the history of twentieth century art, and if you look at them alongside “Pictures at an Exhibition” (on the Kosinki channel) and “Passengers” (on Sandor Krasna’s Photostream) with its digital overlay of famous paintings, they are one of a piece only Marker could have conjured up.
“And we too tried to be no nearer
In “death’s dream kingdom”
Under our disguises
Cat’s coat, owlskin, and the rest
Behaving as cats behave
Chris Marker, A Farewell to Movies, 35
Polaris, this is for you. Your professor might have done the interview after all.
Marker participated in a brief discussion in Second Life in his avatar as Sergei Murasaki in May 2009, and it was broadcast live through Harvard’s Film Center. Unfortunately, the interview which was previously available in its entirety on may blogs and sites, has disappeared! Might have to do with the fact that it is now called the Criterion Interview and is probably included in some Criterion release! All I could find at present is an excerpt. Wish I had saved it earlier!
“IA: How does Second Life fit into the context of your artistic preoccupations?
SM: I don’t believe I’ve ever had “artistic preoccupations.” I’m a cobbler. This is supercobbling.
IA: What you’ve managed to cobble to date, when it was made, seems to have prophesized today’s technologies, almost as if it was conjuring them, don’t you think?
SM: You really ought to lighten up your vocabulary. “Artistic,” “prophesize.” None of this is like me in the least. I think I’ll stick to cobbling, with all that’s inherently honorable in artisanal undertakings”
— Interview on Second Life between Chris Marker, aka Sergei Murasaki, and the interviewers—Julien Gester and Serge Kaganski—Iggy Atlas
Bill Horrigan of the Wexner Centre for the Arts remembers Marker on WexBlog:
“Dying is, at most, the opposite of being born. The opposite of living remains to be found.” – Chris Marker, Le cœur net
Here’s more on Marker’s novel from Edward Gauvin: http://www.edwardgauvin.com/blog/?p=1073
From Reverse Shot, The Business of Mourning—Andrew Tracy on Chris Marker’s Sans Soleil and Level Five
Not sure if this has been posted, but I just found this link to a French blog about Marker’s funeral (before he was cremated):
(You can use google translate to get a pretty good read on it)