Time, memory, image: Chris Marker's Sunless
2013; Fotocinema; Issue: 7 Linguagem: Inglês
ISSN
2172-0150
Autores Tópico(s)Cinema History and Criticism
ResumoespanolConsiderado uno de los ejemplos mas representativos del ensayo filmico, el cine de Chris Marker se ha caracterizado hasta la reciente fecha de su muerte por una insistente interrogacion sobre el poder y la funcion de la Imagen. En este sentido, el filme Sans soleil (1982) supone una referencia ineludible al establecer un punto de acceso a una nueva etapa de su dilatada carrera donde el interes por las imagenes del presente se iria sustituyendo por una obsesion por las imagenes del pasado, ya sean aquellas que han servido para escribir la Historia, ya sean aquellas de caracter mas intimo que se arremolinan caoticamente en las memorias individuales. Unas y otras imagenes componen Sans soleil, imagenes acumuladas por un coleccionista consciente de la especial melancolia que las impregna, y que pasan a constituirse en escritura filmica. Es precisamente esta escritura el objeto de estudio del presente articulo, mas concretamente, la manera en la que esta desarrolla un caracteristico discurso sobre el tiempo, la imagen y la memoria que se demostrara decisivo en la posterior filmografia markeriana. EnglishChris Marker's films, which are considered to be some of the most representative examples of film-essay, have been marked until his recent death by a persistent questioning over the power and the purpose of Image. His film Sunless (1982) is at that respect an unavoidable reference when establishing a first step into a new phase within his long career. A phase where he slowly dropped interest for images of the present and developed instead an obsession for images from the past. The obsession comprised those images used to write History, as well as the more intimate ones that belong to the chaotic flow of individual memories. Sunless is made out of both kinds of images. Images accumulated by a collector who is aware of the special melancholy they are steeped in. Images that become film writing themselves. This article explores this writing, and more specifically, its characteristic discourse about time, image and memory, which will prove to be decisive along the following markerian filmography.
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