I neglected to post on Flicker Two evenings left, tonight and Monday, at the Egyptian Theater in Hollywood. 6712 Hollywood Blvd, Los Angeles CA 90028 Plenty of tickets at the door. http://www.americancinemathequecalendar.com/content/the-museum-of-memory-a-t ribute-to-chris-marker
THE MUSEUM OF MEMORY: A TRIBUTE TO CHRIS MARKER September 13-15 & 17, 2012, at the Egyptian Theatre The American Cinematheque and Los Angeles Filmforum The films of Chris Marker (July 29, 1921 - July 29, 2012) are a travelogue of pure mystery, where his beloved cats and owls materialize to remind us how much we have to remember. His favorite medium was the cinema essay: a series of impressions, snapshots and postcards from distant lands, linked together by Marker¹s enigmatic voice. Marker was in love with memory, and with its melancholy beauty. A journalist, travel writer and photographer before he took up filmmaking, Marker consistently refused interviews and rarely appeared in photographs. His earliest films were made in collaboration with Alain Resnais, who shared Marker¹s preoccupation with time and memory; and while Marker¹s career parallels the French New Wave, his films have always been too singular to be easily grouped with Godard, Truffaut and his other peers. Join us for a tribute to avant-garde filmmaker Chris Marker, a four-night program including LA JETEE, SANS SOLEIL, THE LAST BOLSHEVIK, ONE DAY IN THE LIFE OF ANDREI ARSENOVICH, REMEMBRANCE OF THINGS TO COME, and more! Series compiled by Adam Hyman and Gwen Deglise. Saturday, September 15 7:30 PM TRiBUTE and Shorts ³La Jetee² (1964, New Yorker, 30 min). Marker¹s most famous film (and his only work of pure fiction), ³La Jetee² is an agonizing cry of love to a world gone by, the story of a man drawn through time by the image of a woman standing on the jetty at Orly Airport. In French and German with English subtitles. ³Junkopia² (1981, 6 min.) On remains in Emeryville CA http://www.chrismarker.org/2008/11/junkopia/ REMEMBRANCE OF THINGS TO COME (LE SOUVENIR D¹UN AVENIR), 2001, First Run/Icarus Films, 42 min. Dirs. Yannick Bellon, Chris Marker. Genius. Ostensibly a portrait of French photographer Denise Bellon, focusing on the two decades between 1935 and 1955, the film leaps and backtracks, Marker-style, from subject to subject, from a family portrait of Bellon and her two daughters, Loleh and Yannick (the latter co-authored the film), to a wide-ranging history of surrealism, of the city of Paris, of French cinemas and the birth of the cinémathèque, of Europe, the National Front, the Second World War and Spanish Civil War, and postwar politics and culture. In French with English subtitles. (Notes by James Quandt, Cinematheque Ontario.) A CHRIS MARKER BESTIARY, including ³Cat Listening to Music,² (1990, 3 min.) ³An Owl Is An Owl² (1990, 3 min.) ³Zoo Piece² (1990, 3 min.) ³Bullfight in Okinawa² (1992, 4 min.) ³Slon Tango² (1993, 4 min.) CASE OF THE GRINNING CAT, 2004, Icarus Films, 58 min. In his last full-length film, French cinema-essayist Chris Marker reflects on French and international politics, art and culture at the start of the new millennium. Monday, September 17 7:30 PM CHRIS MARKER Double Feature THE LAST BOLSHEVIK, 1993, Icarus Films, 116 min. Chris Marker¹s astonishing look at the history of 20th-century Russia through the life and work of his dear friend, filmmaker Alexander Medvedkin. Told in the form of six letters to the late Medvedkin, the film is a film of heartbreaking devotion to a friend, to an ideology and to film itself. In French and Russian with English subtitles. ONE DAY IN THE LIFE OF ANDREI ARSENOVICH, Icarus Films, 1999, 55 min. "The best single piece of [Andrei] Tarkovsky criticism I know of, clarifying the overall coherence of his oeuvre while leaving all the principal mysteries in his films intact. It becomes clear early on that Marker was an intimate friend of Tarkovsky and his family, and was shooting home-video footage of some of Tarkovsky¹s final days in the mid-1980s, when he was dying of cancer, for Tarkovsky and his family¹s use as well as his ownThe video interweaves biography and autobiography with poetic and political insight in a manner that seldom works as well as it does here." - Jonathan Rosenbaum, Chicago Reader
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