Chris Marker

For the fictional character, seeThe Dead (Higson novel).

Chris Marker
Born	Christian Hippolyte François Georges Bouche-Villeneuve (1921-07-29)29 July 1921 Neuilly-sur-Seine,Île-de-France,France
Died	29 July 2012(2012-07-29)(aged 91) Paris, France
Occupation(s)	Film director, photographer, journalist, multimedia artist
Website	chrismarker.org

Chris Marker(French:[maʁkɛʁ];29 July 1921 – 29 July 2012) was a French writer, photographer, documentary film director,multimediaartist andfilm essayist.His best known films areLa Jetée(1962),A Grin Without a Cat(1977) andSans Soleil(1983). Marker is usually associated with theLeft Banksubset of theFrench New Wavethat occurred in the late 1950s and 1960s, and included such other filmmakers asAlain Resnais,Agnès VardaandJacques Demy.

His friend and sometime collaborator Alain Resnais 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."

Early life

Marker was born Christian François Bouche-Villeneuve.He was always elusive about his past and known to refuse interviews and not allow photographs to be taken of him; his place of birth is highly disputed.Some sources and Marker himself claim that he was born inUlaanbaatar,Mongolia.Other sources say he was born inBelleville, Paris,and others, inNeuilly-sur-Seine.The 1949 edition ofLe Cœur Netgives his birthday as 22 July. Film criticDavid Thomsonhas said, "Marker told me himself that Mongolia is correct. I have since concluded that Belleville is correct—but that does not spoil the spiritual truth of Ulan Bator."When asked about his secretive nature, Marker said, "My films are enough for them [the audience]."

Marker was a philosophy student in France beforeWorld War II.During the German occupation of France, he joined theMaquis (FTP),a part of theFrench Resistance.At some point during the war he left France and joined theUnited States Air Forceas a paratrooper,although some sources claim that this is not true.After the war, he began a career as a journalist, first writing for the journalEsprit,a neo-Catholic,Marxistmagazine where he met fellow journalistAndré Bazin.ForEsprit,Marker wrote political commentaries, poems, short stories, and film reviews.

During this period, Marker began to travel around the world as a journalist and photographer, a vocation he pursued for the rest of his life. The French publishing companyÉditions du Seuilhired him as editor of the seriesPetite Planète( "Small World" ).That collection devoted one edition to each country and included information and photographs,and would later be published in English translation byStudio VistaandThe Viking Press.In 1949 Marker published his first novel,Le Coeur net(The Forthright Spirit), which was about aviation. In 1952 Marker published an illustrated essay on French writerJean Giraudoux,Giraudoux Par Lui-Même.

Early career (1950–1961)

During his early journalism career, Marker became increasingly interested in filmmaking and in the early 1950s experimented with photography. Around this time Marker met and befriended many members of theLeft Bank Film Movement,includingAlain Resnais,Agnès Varda,Henri Colpi,Armand Gatti,and the novelistsMarguerite DurasandJean Cayrol.This group is often associated with theFrench New Wavedirectors who came to prominence during the same time period, and the groups were often friends and journalistic co-workers. The termLeft Bankwas first coined by film criticRichard Roud,who described them as having "fondness for a kind ofBohemianlife and an impatience with the conformity of the Right Bank, a high degree of involvement in literature and theplastic arts,and a consequent interest inexperimental filmmaking",as well as an identification with the politicalleft.Anatole Daumanproduced many of Marker's earliest films.

In 1952 Marker made his first film,Olympia 52,a 16mm feature documentary about the1952 Helsinki Olympic Games.In 1953 he collaborated with Resnais on the documentaryStatues Also Die.The film examines traditionalAfrican artsuch as sculptures and masks, and its decline with the coming of Western colonialism. It won the 1954Prix Jean Vigo,but was banned by French censors for its criticism of French colonialism.

After working as assistant director on Resnais'sNight and Fogin 1955, Marker madeSunday in Peking,a short documentary "film essay"in the style that characterized Marker's output for most of his career. Marker shot the film in two weeks while traveling through China with Armand Gatti in September 1955. In the film, Marker's commentary overlaps scenes from China, such as tombs that, contrary to Westernized understandings of Chinese legends, do not contain the remains ofMing dynastyemperors.

After working on the commentary for Resnais's filmLe mystère de l'atelier quinzein 1957, Marker continued to refine his style with the feature documentaryLetter from Siberia.An essay film on the narrativization of Siberia, it contains Marker's signature commentary, which takes the form of a letter from the director, in the long tradition of epistolary treatments by French explorers of the "undeveloped" world.Letterlooks at Siberia's movement into the 20th century and at some of the tribal cultural practices receding into the past. It combines footage Marker shot inSiberiawith old newsreel footage, cartoon sequences, stills, and even an illustration ofAlfred E. NeumanfromMad Magazineas well as a fake TV commercial as part of a humorous attack on Western mass culture. In producing a meta-commentary on narrativity and film, Marker uses the same brief filmic sequence three times but with different commentary—the first praising the Soviet Union, the second denouncing it, and the third taking an apparently neutral or "objective" stance.

In 1959 Marker made the animated filmLes AstronauteswithWalerian Borowczyk.The film was a combination of traditional drawings with still photography. In 1960 he madeDescription d'un combat,a documentary on theState of Israelthat reflects on its past and future.The film won the Golden Bear for Best Documentary at the1961 Berlin Film Festival.

In January 1961, Marker traveled to Cuba and shot the film¡Cuba Sí!The film promotes and defendsFidel Castroand includes two interviews with him. It ends with an anti-American epilogue in which the United States is embarrassed by theBay of Pigs Invasionfiasco, and was subsequently banned. The banned essay was included in Marker's first volume of collected film commentaries,Commentaires I,published in 1961.The following year Marker publishedCoréennes,a collection of photographs and essays on conditions inKorea.

La JetéeandLe Joli Mai(1962–1966)

Marker became known internationally for the short filmLa Jetée(The Pier) in 1962.It tells of apost-nuclear warexperiment intime travelby using a series of filmed photographs developed as aphotomontageof varying pace, with limited narration and sound effects. In the film, a survivor of a futuristic third World War is obsessed with distant and disconnected memories of a pier at theOrly Airport,the image of a mysterious woman, and a man's death. Scientists experimenting in time travel choose him for their studies, and the man travels back in time to contact the mysterious woman, and discovers that the man's death at the Orly Airport was his own. Except for one shot of the woman mentioned above sleeping and suddenly waking up, the film is composed entirely of photographs by Jean Chiabaud and stars Davos Hanich as the man,Hélène Châtelainas the woman and photographer-film directorWilliam Kleinas a man from the future.

While makingLa Jetée,Marker was simultaneously making the 150-minute documentary essay-filmLe joli mai,released in 1963. Beginning in the spring of 1962, Marker and his camera operator Pierre Lhomme shot 55 hours of footage interviewing random people on the streets of Paris. The questions, asked by the unseen Marker, range from their personal lives, as well as social and political issues of relevance at that time. As he had with montages of landscapes and indigenous art, Marker created a film essay that contrasted and juxtaposed a variety of lives with his signature commentary (spoken by Marker's friends, singer-actorYves Montandin the French version andSimone Signoretin the English version). The film has been compared to theCinéma véritéfilms ofJean Rouch,and criticized by its practitioners at the time.The term "Cinéma vérité" was itself anathema to Marker, who never used it. Instead, he preferred his own term “ciné, ma vérité,” meaning "cinéma, my truth."It was shown in competition at the 1963Venice Film Festival,where it won the award for Best First Work. It also won the Golden Dove Award at the Leipzig DOK Festival.

After the documentaryLe Mystère Koumikoin 1965, Marker madeSi j'avais quatre dromadaires,an essay-film that, likeLa Jetée,is aphotomontageof over 800 photographs Marker had taken over the previous 10 years in 26 countries. The commentary involves a conversation between a fictitious photographer and two friends, who discuss the photos. The film's title is an allusion to a poem byGuillaume Apollinaire.It was the last film in which Marker included "travel footage" for many years.

SLON and ISKRA (1967–1974)

In 1967 Marker published his second volume of collected film essays,Commentaires II.That same year, Marker organized the omnibus filmLoin du Vietnam,a protest against theVietnam Warwith segments contributed by Marker,Jean-Luc Godard,Alain Resnais,Agnès Varda,Claude Lelouch,William Klein,Michele Ray andJoris Ivens.The film includes footage of the war, from both sides, as well as anti-war protests in New York and Paris and other anti-war activities.

From this initial collection of filmmakers with left-wing political agendas, Marker created the group S.L.O.N. (Société pour le lancement des oeuvres nouvelles,"Society for launching new works", but also the Russian word for "elephant" ).SLON was a film collective whose objectives were to make films and to encourage industrial workers to create film collectives of their own. Its members included Valerie Mayoux, Jean-Claude Lerner, Alain Adair and John Tooker. Marker is usually credited as director or co-director of all of the films made by SLON.

After the events ofMay 1968,Marker felt a moral obligation to abandon his own personal film career and devote himself to SLON and its activities. SLON's first film was about a strike at a Rhodiacéta factory in France,À bientôt, j'espère(Rhodiacéta) in 1968.Later that year SLON madeLa Sixième face du pentagone,about an anti-war protest in Washington, D.C., and was a reaction to what SLON considered to be the unfair and censored reportage of such events on mainstream television. The film was shot byFrançois Reichenbach,who received co-director credit.La Bataille des dix millionswas made in 1970 with Mayoux as co-director andSantiago Álvarezas cameraman and is about the 1970 sugar crop in Cuba and its disastrous effects on the country. In 1971, SLON madeLe Train en marche,a new prologue to Soviet filmmaker Aleksandr Medvedkin's 1935 filmSchastye,which had recently been re-released in France.

In 1974, SLON became I.S.K.R.A. (Images, Sons, Kinescope, Réalisations, Audiovisuelles,but also the name ofVladimir Lenin's political newspaperIskra,which also is a Russian word for "spark" ).

Return to personal work (1974–1986)

In 1974 Marker returned to his personal work and made a film outside of ISKRA.La Solitude du chanteur de fondis a one-hour documentary about Marker's friendYves Montand's benefit concert for Chilean refugees. The concert was Montand's first public performance in four years, and the documentary includes film clips from his long career as a singer and actor.

Marker had been working on a film aboutChilewith ISKRA since 1973. Marker had collaborated with Belgian sociologistArmand Mattelartand ISKRA members Valérie Mayoux and Jacqueline Meppiel to shoot and collect the visual materials, which Marker then edited together and provided the commentary for. The resulting film was the two and a half-hour documentaryLa Spirale,released in 1975. The film chronicles events in Chile, beginning with the1970 electionof socialist PresidentSalvador Allendeuntil hismurderandthe resulting coupin 1973.

Marker then began work on one of his most ambitious films,A Grin Without a Cat,released in 1977. The film's title refers to theCheshire CatfromAlice in Wonderland.The metaphor compares the promise of the global socialist movement beforeMay 1968(the grin) with its actual presence in the world after May 1968 (the cat). The film's original French title isLe fond de l'air est rouge,which means "the air is essentially red", or "revolution is in the air", implying that the socialist movement was everywhere around the world.

The film was intended to be an all-encompassing portrait of political movements since May 1968, a summation of the work which he had taken part in for ten years. The film is divided into two parts: the first half focuses on the hopes and idealism before May 1968, and the second half on the disillusion and disappointments since those events. Marker begins the film with theOdessa Steps sequencefromSergei Eisenstein's filmThe Battleship Potemkin,which Marker points out is a fictitious creation of Eisenstein which has still influenced the image of the historical event. Marker used very little commentary in this film, but the film's montage structure and preoccupation with memory make it a Marker film. Upon release, the film was criticized for not addressing many current issues of the New Left such as the woman's movement, sexual liberation and worker self-management.The film was re-released in the US in 2002.

In the late 1970s, Marker traveled extensively throughout the world, including an extended period in Japan. From this inspiration, he first published thephoto-essayLe Dépaysin 1982, and then used the experience for his next filmSans Soleil,released in 1982.

Sans Soleilstretches the limits of what could be called a documentary. It is an essay, amontage,mixing pieces of documentary with fiction and philosophical comments, creating an atmosphere ofdreamand science fiction. The main themes are Japan, Africa,memoryand travel. A sequence in the middle of the film takes place in San Francisco, and heavily referencesAlfred Hitchcock'sVertigo.Marker has said thatVertigois the only film "capable of portraying impossible memory, insane memory."The film's commentary are credited to the fictitious cameraman Sandor Krasna, and read in the form of letters by an unnamed woman. Though centered around Japan, the film was also shot in such other countries asGuinea Bissau,Ireland andIceland.Sans Soleilwas shown at the1983 Berlin Film Festivalwhere it won the OCIC Award. It was also awarded the Sutherland Trophy at the 1983British Film InstituteAwards.

In 1984, Marker was invited by producerSerge Silbermanto document the making ofAkira Kurosawa's filmRan.From this Marker madeA.K.,released in 1985. The film focuses more on Kurosawa's remote but polite personality than on the making of the film.The film was screened in theUn Certain Regardsection at the1985 Cannes Film Festival,beforeRanitself had been released.

In 1985, Marker's long-time friend and neighborSimone Signoretdied of cancer. Marker then made the one-hour TV documentaryMémoires pour Simoneas a tribute to her in 1986.

Multimedia and later career (1987–2012)

Beginning withSans Soleil,Marker developed a deep interest indigitaltechnology. From 1985 to 1988, he worked on a conversational program (a prototypical chatbot) called "Dialector," which he wrote inApplesoft BASICon anApple II.He incorporated audiovisual elements in addition to the snippets of dialogue and poetry that "Computer" exchanged with the user. Version 6 of this program was revived from a floppy disk (with Marker's help and permission) and emulated online in 2015.

His interests in digital technology also led to his filmLevel Five(1996) andImmemory(1998, 2008),an interactive multimediaCD-ROM,produced for theCentre Pompidou(French language version) and fromExact Change(English version). Marker created a 19-minute multimedia piece in 2005 for theMuseum of Modern Artin New York City titledOwls at Noon Prelude: The Hollow Menwhich was influenced byT. S. Eliot'spoem.

Marker lived in Paris, and very rarely granted interviews. One exception was a lengthy interview withLibérationin 2003 in which he explained his approach to filmmaking.When asked for a picture of himself, he usually offered a photograph of a cat instead. (Marker was represented in Agnes Varda's 2008 documentaryThe Beaches of Agnesby a cartoon drawing of a cat, speaking in a technologically altered voice.) Marker's own cat was namedGuillaume-en-égypte.In 2009, Marker commissioned anAvatar of Guillaume-en-Egypteto represent him inmachinimaworks. The avatar was created by Exosius Woolley and first appeared in the short film / machinima,Ouvroir the Movie by Chris Marker.

In the 2007Criterion Collectionrelease ofLa JetéeandSans Soleil,Marker included a short essay, "Working on a Shoestring Budget". He confessed to shooting all ofSans Soleilwith a silent film camera, and recording all the audio on a primitiveaudio cassetterecorder. Marker also reminds the reader that only one short scene inLa Jetéeis of a moving image, as Marker could only borrow a movie camera for one afternoon while working on the film.

From 2007 through 2011 Marker collaborated with the art dealer and publisher Peter Blum on a variety of projects that were exhibited at the Peter Blum galleries in New York City's Soho and Chelsea neighborhoods. Marker's works were also exhibited at the Peter Blum Gallery on 57th Street in 2014. These projects include several series of printed photographs titledPASSENGERS,Koreans,Crush Art,Quelle heure est-elle?,andStaring Back;a set of photogravures titledAfter Dürer;a book,PASSENGERS;and digital prints of movie posters, whose titles were often appropriated, includingBreathless,Hiroshima Mon Amour,Owl People,andRin Tin Tin.The video installationsSilent MovieandOwls at Noon Prelude: The Hollow Menwere exhibited at Peter Blum in 2009.These works were also exhibited at the 2014 & 2015 Venice Biennale, Whitechapel Gallery in London, the MIT List Visual Arts Center in Cambridge, Massachusetts, the Carpenter Center for the Visual Arts at Harvard University, the Moscow Photobiennale, Les Recontres d'Arles de la Photographie in Arles, France, the Centre de la Photographie in Geneva, Switzerland, the Walker Art Center in Minneapolis, Minnesota, the Wexner Center for the Arts in Columbus, Ohio, The Museum of Modern Art in New York, and the Pacific Film Archive in Berkeley, California. Since 2014 the artworks of the Estate of Chris Marker are represented by Peter Blum Gallery, New York.

Marker died on 29 July 2012, his 91st birthday.

Legacy

La Jetéewas the inspiration forMamoru Oshii's 1987 debut live action featureThe Red Spectacles(and later for parts of Oshii's 2001 filmAvalon) and also inspiredTerry Gilliam's12 Monkeys(1995) andJonás Cuarón'sYear of the Nail(2007) as well as many ofMira Nair's shots in her 2006 filmThe Namesake.

Works

Filmography

• Olympia 52(1952)
• Statues Also Die(1953 withAlain Resnais)
• Sunday in Peking(1956)
• Lettre de Sibérie(1957)
• Les Astronautes(1959 withWalerian Borowczyk)
• Description d'un combat(1960)
• ¡Cuba Sí!(1961)
• La Jetée(1962)
• Le Joli Mai(1963, 2006 re-cut)
• Le Mystère Koumiko(1965)
• Si j'avais quatre dromadaires(1966)
• Loin du Vietnam(1967)
• Rhodiacéta(1967)
• La Sixième face du pentagone(1968 with Reichenbach)
• Cinétracts(1968)
• À bientôt, j'espère(1968 with Marret)
• On vous parle du Brésil: Tortures(1969)
• Jour de tournage(1969)
• Classe de lutte(1969)
• On vous parle de Paris: Maspero, les mots ont un sens(1970)
• On vous parle du Brésil: Carlos Marighela(1970)
• La Bataille des dix millions(1971)
• Le Train en marche(1971)
• On vous parle de Prague: le deuxième procès d'Artur London(1971)
• Vive la baleine(1972)
• L'Ambassade(1973)
• On vous parle du Chili: ce que disait Allende(1973 withMiguel Littín)
• Puisqu'on vous dit que c'est possible(1974)
• La Solitude du chanteur de fond(1974)
• La Spirale(1975)
• A Grin Without a Cat(1977)
• Quand le siècle a pris formes(1978)
• Junkopia(1981)
• Sans Soleil(1983)
• 2084(1984)
• From Chris to Christo(1985)
• Matta(1985)
• A.K.(1985)
• Eclats(1986)
• Mémoires pour Simone(1986)
• Tokyo Days(1988)
• Spectre(1988)
• The Owl's Legacy(L'héritage de la chouette) (1989)
• Bestiaire(three short video haiku) (1990)
  • Bestiaire 1. Chat écoutant la musique
  • Bestiaire 2. An owl is An owl is an owl
  • Bestiaire 3. Zoo Piece
• Getting away with it(1990)
• Berlin 1990(1990)
• Détour Ceausescu(1991)
• Théorie des ensembles(1991)
• Coin fenêtre(1992)
• Azulmoon(1992)
• Le Tombeau d'Alexandrea.k.a.The Last Bolshevik(1992)
• Le 20 heurs dans les camps(1993)
• Prime Time in the Camps(1993)
• SLON Tango(1993)
• Bullfight in Okinawa(1994)
• Eclipse(1994)
• Haiku(1994)
  • Haiku 1. Petite Ceinture
  • Haiku 2. Chaika
  • Haiku 3. Owl Gets in Your Eyes
• Casque bleu(1995)
• Silent Movie(1995)
• Level Five(1997)
• One Day in the Life of Andrei Arsenevich(2000)
• Un maire au Kosovo(2000)
• Le Facteur sonne toujours cheval(2001)
• Avril inquiet(2001)
• Le Souvenir d'un avenir(with Bellon 2003)
• Chats Perchés(2004)– a documentary aboutM. Chatstreet art
• Leila Attacks(2006)
• Stopover in Dubai(2011)

Film collaborations

• Nuit et Brouillard(Resnais 1955)
  • Note: In a 1995 interview Resnais states that the final version of the commentary was a collaboration between Marker and Jean Cayrol (source:Film Comment).
• Toute la mémoire du monde(Resnais 1956)
  • Note: Credited as "Chris and Magic Marker."
• Les hommes de la baleine(Ruspoli 1956)
  • Note: 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 (Film Comment).
• Broadway by Light(Klein 1957)
  • Note: Marker wrote the introductory text to this film.
• Le mystere de l'atelier quinze(Resnais et Heinrich 1957)
  • Note: Marker wrote the commentary for this fictional short (Film Comment).
• Le Siècle a soif(Vogel 1958)
  • Note: Marker wrote and spoke all the commentary for this short film about fruit juice in Alexandrine verse (Film Comment).
• La Mer et les jours(Vogel et Kaminker 1958)
  • Note: Marker present commentary for this "somber work about the daily lives of fishermen on Brittany's Île de Sein" (Film Comment).
• L'Amérique insolite(Reichenbach 1958)
  • Note: Marker was eventually credited as a writer for this one, apparently, he wrote the dialogue (Film Comment).
• Django Reinhardt(Paviot 1959)
  • Note: Marker narrated this one (Film Comment).
• Jouer à Paris(Varlin 1962)
  • Note: This was edited by Marker – essentially, this film is a 27-minute postscript toLe Joli Maiassembled from leftover footage and organized around a new commentary (Film Comment).
• A Valparaiso(Ivens 1963)
  • Note: This gem was written by Marker. It feels like a Marker film.
• Les Chemins de la fortune(Kassovitz 1964)
  • Note: Marker apparently helped edit and organise this Venezuela travelogue (Film Comment).
• La Douceur du village(Reichenbach 1964)
  • Note: Edited by Marker.
• La Brûlure de mille soleils(Kast 1964)
  • Note: Marker edited this (mostly) animated science-fiction existentialist short and (possibly) collaborated on the script (Film Comment).
• Le volcan interdit(Tazieff 1966)
  • Note: Marker narrates this volcano documentary.
• Europort-Rotterdam(Ivens 1966)
  • Note: Marker did the textual adaptation (Film Comment.
• On vous parle de Flins(Devart 1970)
  • Note: Marker helped film and edit this short (Film Comment).
• L'Afrique express(Tessier et Lang 1970)
  • Note: Marker wrote the introductory text for this film under the name "Boris Villeneuve" (Film Comment).
• Congo Oyé (We Have Come Back)(Stephens and Cleaver 1971)
  • Note: Marker edited this film

• Kashima Paradise(Le Masson et Deswarte 1974)
  • Note: Marker collaborated on the commentary on this documentary about the destruction of Kashima and Narita (Film Comment).
• La Batalla de Chile(Guzman, 1975–1976)
  • Note: Marker helped produce and contributed to the screenplay for this, perhaps the greatest of all documentary films (Film Comment).
• One Sister and Many Brothers(Makavejev 1994)
  • Note: Marker tapes Makavejev circulating among the guests of a party in his honor as much jovial backslapping abounds (Film comment).

Photographic Series

• Koreans(1957, printed in 2009)
• Crush Art(2003–2008)
• "Quelle heure est-elle?"(2004–2008)
• PASSENGERS(2008–2010)
• Staring Back(varying years)

Digital Prints

• Breathless(1995, printed 2009)
• Hiroshima Mon Amour(1995, printed 2009)
• Owl People(1995, printed 2009)
• Rin Tin Tin(1995, printed 2009)

Photogravures

• After Dürer(2005–07, printed in 2009)

Video Installations

• Silent Movie(1995)
• Owls at Noon Prelude: The Hollow Men(2005)

Bibliography (self-contained works by Marker)

• Le Cœur Net(1949, Editions du Seuil, Paris)
• Giraudoux Par Lui-Même(1952, Editions du Seuil, Paris)
• Commentaires I(1961, Editions du Seuil, Paris)
• Coréennes(1962, Editions du Seuil, Paris)
• Commentaires II(1967, Editions du Seuil, Paris)
• Le Dépays(1982, Editions Herscher, Paris)
• Silent Movie(1995, Ohio State University Press)
• La Jetée ciné-roman(1996 / 2nd printing 2008, MIT Press, Cambridge; designed byBruce Mau)
• Staring Back(2007, MIT Press, Cambridge)
• Immemory(CDROM) (1997 / 2nd printing 2008, Exact Change, Cambridge)
• Inner Time of Television(2010, The Otolith Group, London)

External links

• Chris Marker: Notes from the Era of Imperfect MemoryA site, blog and search engine exploring all aspects of the work of Chris Marker
• Chris Marker: Plongée en imméroire (French)The most up-to-date site on Chris Marker's work
• Chris MarkeratIMDb
• Icarus Films biography of Marker and list of his titles that they distribute
• EAI: Chris Marker Biographyand list ofvideo worksby the artist.
• Texts from Chris Marker films
• Bibliography of books and articles about Markervia UC Berkeley Media Resources Center
• Marker's book of photographs and essays: Staring Back
• The Wexner Center's "Chris Marker Store"
• Filmmaker As Socialist Anthologistby Williams Cole,The Brooklyn Rail,May 2009 Issue
• Literature on Chris Marker
• Chris Marker and the Audiovisual Archive,Oliver Mayer,Scope20
• Chris MarkerFundació Antoni Tàpies
• [1]ISKRA films