In lieu of an abstract, here is a brief excerpt of the content: The Limits of Vococentrism:
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These words from Chris Marker’s film-essay Letter from Siberia are echoed, later, in La Jetée, a film about “a man marked by an image from his childhood.” Both of these “images of childhood” are reprised and subtly modulated at the beginning of Sans soleil in the film’s opening “image of .
Could the aphorism film be the heir, within the very personal and web-disseminated form of a cinéma mineure, to the essay film?
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But according to Chris Darke – co-curator of the Whitechapel Gallery’s current retrospective of the great essay filmmaker Chris Marker – it is “the personal aspect and style of address” that makes the essay film distinct. It is this flexibility that has appealed to contemporary filmmakers, permitting a fresh, nuanced viewing experience.
These words from Chris Marker’s film-essay Letter from Siberia are echoed, later, in La Jetée, a film about “a man marked by an image from his childhood.” Both of these “images of childhood” are reprised and subtly modulated at the beginning of Sans soleil in the film’s opening “image of happiness”: three children on a.