Chris Marker Chris Marker (born Christian Hippolyte François Georges Bouche-Villeneuve) was a French writer, photographer, documentary film director, multimedia artist and film essayist. His best known films are La jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983) and AK (1985), an essay film on the Japanese filmmaker Akira Kurosawa. Marker is often associated with the Left Bank Cinema movement that occurred in the late 1950s and included such other filmmakers as Alain Resnais, Agnès Varda, Henri Colpi and Armand Gatti. His friend and sometime collaborator Alain Resnais has called him "the prototype of the twenty-first-century man." Film theorist Roy Armes has said of him: "Marker is unclassifiable because he is unique...The French Cinema has its dramatists and its poets, its technicians, and its autobiographers, but only has one true essayist: Chris Marker."  Works  The Forthright Spirit (Le cœur net) Chris Marker's debut novel. Download the English edition in PDF. 26 min. With
Magnética Magazine Film & Video The following films are presented for educational and non-commercial use only. All copyrights belong to the artists. About UbuWeb Film & Video UbuWeb is pleased to present thousands of avant-garde films & videos for your viewing pleasure. However, it is important to us that you realize that what you will see is in no way comparable to the experience of seeing these gems as they were intended to be seen: in a dark room, on a large screen, with a good sound system and, most importantly, with a roomful of warm, like-minded bodies. However, we realize that the real thing isn't very easy to get to. We realize that the films we are presenting are of poor quality. UbuWeb
Moon In The Gutter: A Moon in the Gutter Q&A with Writer and Director Daniel Bird Happy New Year! I hope everyone reading here had a great 2010 and I hope 2011 turns out even better. Thanks so much for all the support here and I am going to try my best to keep rocking throughout this new year. ***Just one of the amazing Mondo Vision Zulawski DVDs that Daniel has been actively involved with*** I first discovered Daniel's great writing in the pages of Eyeball and Necronomicon back in the mid-nineties and I have followed his work since. Moon in the Gutter: First up, can you tell us a bit about your background and where you are from? Daniel Bird: I come from Stoke-on-Trent - an industrial town in the Midlands. What were some of the initial films and filmmakers from your youth that originally sparked your passion for the cinema? Monster Movies. Since a lot of us are thinking of the already much missed Jean Rollin right now, and since it was your piece on Rollin that first introduced me to your work about fifteen years ago I wanted to ask you about Jean.
DIAMOND VARIATIONS I•HATE•THIS•FILM Amanita (1974) Film by Vic Atkinson, who has proven that to make a dope movie, all you need is a damp forest of fungi and Chappell’s TVMusic 101-104 on wax. Throw in a few bugs and dead leaves for added ambience, and you’ve got yourself an instant classic. We were able to identify some of the music used in the film, first thanks to a fortuitous discovery on the now defunct Fourth Wave youtube channel of library music uploads and more recently while browsing the virtual stacks over at (Ad Lib). Now is your time to fill in the blanks. 0:36 [sounds a bit like Cosmic sounds no. 6 by Georges Teperino, mixed with something else, but we suspect it may be a different track entirely]
outsidefilm.org "A Love of UIQ": Félix Gutattari's Unfilmed Script on Notebook “There will soon be nothing more than self-communicating zombies, whose lone umbilical relay will be their own feedback image – electronic avatars of dead shadows perpetually retelling their own story.” —Jean Baudrillard in Telemorphosis Around 1979 the American filmmaker Robert Kramer and the French schizo-analyst Félix Guattari started working together on a film about two Italian fugitives from the Italian Autonomia Movement, Latitante. The film, which was to star Pier Paolo Pasolini's regular actress Laura Betti, was meant to be a sort of first person collective reflection on the finitude and fragility of the body, “opposing the enormous weight of things-as-they-are, systematically defined by vast power.” A film about the intimacy of resistance. Guattari's narrative somehow bridges these two currents, borrowing the resolve from the former and the conceptual tools from the latter.