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Chris Marker
«Immemory»
Marker’s storehouse of images produces a new cosmos of over determined meanings. In this sense, the filmmaker’s game with the documentary film genre becomes more of an ironic analysis of the documentary’s latent tendencies to monumentalize. Marker's approach is more like a kind of evolution than a lofty subliminity, like folding Japanese origami paper, or new digital photo processes, such as the zapping, windowing, linking, and morphing that actually dominate Marker’s more recent works («Zapping Zone,» 1990, «Level 5,» 1997 or the CD-ROM «Immemory,» 1997).
Michael Wetzel