The connection between Hitchcock and Le Jetee with the tree is pretty amazing. It took me a couple of views to realize that they were very similar.
One of the best things about La Jetee, I think, is that it's more like a book than a movie, though it retains features of both. Since it is composed of still images, the audience has more time to reflect and interpret them just like words on a page. Perhaps pictures can be worth a thousand words. But even more so, the film seems to represent a marriage between film and literature mainly because of the score and the narration. I think that's part of its power to keep the audience so intrigued.
The documentary's focus on Marker's work as a photographer does cast a bit more light on the causal circumstances behind La Jetee. To my mind, it's a combination of budget and vision. Black and white photography may have given Marker some room to work with, but the privation of features of a normal film only adds to its weight. The theme of image as a frozen memory is something that a standard movie couldn't necessarily accomplish.
Plus, La Jetee challenges the ontology of what a "motion picture" is, as alluded to by Sinnerbrink in the book.
The connection between Hitchcock and Le Jetee with the tree is pretty amazing. It took me a couple of views to realize that they were very similar.
ReplyDeleteOne of the best things about La Jetee, I think, is that it's more like a book than a movie, though it retains features of both. Since it is composed of still images, the audience has more time to reflect and interpret them just like words on a page. Perhaps pictures can be worth a thousand words. But even more so, the film seems to represent a marriage between film and literature mainly because of the score and the narration. I think that's part of its power to keep the audience so intrigued.
The documentary's focus on Marker's work as a photographer does cast a bit more light on the causal circumstances behind La Jetee. To my mind, it's a combination of budget and vision. Black and white photography may have given Marker some room to work with, but the privation of features of a normal film only adds to its weight. The theme of image as a frozen memory is something that a standard movie couldn't necessarily accomplish.
Plus, La Jetee challenges the ontology of what a "motion picture" is, as alluded to by Sinnerbrink in the book.