In a Sequoia Park: Hitchcock/Marker/Godard
Abstract
The text is a reflection on the relationship between the filmmakers mentioned in the title: Hitchcock, Marker, and Godard. The main idea of the article is to see the significant influence exerted by the British director on the French artists, which is manifested in the proposed approach primarily in the impact of Vertigo (1958) on Marker’s La Jetée (1962), Sans Soleil (1983), and Immemory (1997), as well as on Godard’s Nouvelle vague (1990) and Histoire(s) du cinéma (1988-1998). It is worth noting that each of the French directors uses the same Hitchcock's film in a slightly different range. Both emphasize the universality of the story of memory/forgetfulness and appreciate the craftsmanship of the father of the thriller – an excellent stylist who was sensitive to the image. Each of them, however, created the figure of Hitchcock in their works in a different way. Marker particularly emphasized the ability to manipulate time and space, the perfection of the almost ascetic form contained in Hitchcock’s simple images. Godard, in turn, relied on Hitchcock as a master of cinema, successor to great painters, who exerted great influence on the audience thanks to his ability to tell stories by means of film images.
Keywords:
Alfred Hitchcock, Chris Marker, Jean-Luc Godard, memory, imageReferences
Aumont, J. (2002). Les théories des cinéastes. Paris: Nathan Cinéma.
Google Scholar
Bellour, R. (1990). L’Entre-Images. Photo, cinéma, vidéo. Paris: La Différence.
Google Scholar
Bellour, R. (1999). L’Entre-Images 2. Mots: images. Paris: P.O.L – Traffic.
Google Scholar
Bergala, A. (1999). Nul mieux gue Godard. Paris: Collections Essais – Cahiérs du Cinéma.
Google Scholar
Brancaleone, D. (2012). The Interventions of Jean-Luc Godard and Chris Marker into Contemporary Visual Art. Vertigo, (30). https://www.closeupfilmcentre.com/vertigo_magazine/issue-30-spring-2012-godard-is/the-interventions-of-jean-luc-godard-and-chris-marker/
Google Scholar
Burgin, V. (2008). La marque de Marker. W: A. Habib, V. Paci (red.), Chris Marker et l’imprimerie du regard (ss. 17-32). Paris: L’Harmattan.
Google Scholar
Copik, I. (2019). Topografie suspensu w filmach Alfreda Hitchcocka. W: B. Frydryczak, M. Salwa (red.), Krajobraz i doświadczenie (ss. 159-176). Łódź: Przypis.
Google Scholar
Copik, I. (2020). Geografie filmowe Alfreda Hitchcocka. W: B. Kita, M. Kempna-Pieniążek (red.), Filmowe pejzaże Ameryk (ss. 59-77). Katowice: Wydawnictwo Uniwersytetu Śląskiego.
Google Scholar
Dubois, P. (2006). „La Jetée” de Chris Marker ou le cinématogramme de la conscience. Théorème, (6), ss. 9-45.
Google Scholar
Godard, J.-L. (1985). Jean Luc Godard par Jean-Luc Godard. Paris: Cahiers du Cinéma – Editions de l'Etoile.
Google Scholar
Godard, J.-L. (1998). Jean-Luc Godard par Jean-Luc Godard, tome 2, 1984-1998. Paris: Cahiers du Cinéma – Editions de l'Etoile.
Google Scholar
Haroudin, F. (2007). Le cinématographe selon Godard. Introduction aux „Histoire(s) du cinéma” ou réflexion sur les temps des arts. Paris: L’ Harmattan.
Google Scholar
July, S. (1980). Entretiens. Libération, (2), ss. 54-63.
Google Scholar
Laborde, B. (2008). Du mémorial au mémoriel: hommages et tombeaux dans l’œuvre de Chris Marker. W: A. Habib, V. Paci (red.), Chris Marker et l’imprimerie du regard (ss. 133-146). Paris: L’Harmattan.
Google Scholar
Loska, K. (2002). Hitchcock – autor wśród gatunków. Kraków: Rabid
Google Scholar
Lowy, V. (2017). Rive droite, rive gauche: face à la „Nouvelle Vague”. W: K. Feigelsom (red.), Cinémaction, (165), ss. 54-63.
Google Scholar
Manovich, L. (2006). Język nowych mediów (tłum. P. Cypryański). Warszawa: Wydawnictwa Akademickie i Profesjonalne.
Google Scholar
Niney, F. (2006). L’éloignement des voix répare en quelque sorte la trop grand proximité des plans. Theoreme, (6), ss. 101-110.
Google Scholar
Mościcki, P. (2010). Godard. Pasaże. Kraków: Korporacja Ha!art.
Google Scholar
Perniola, I. (2008). Atlas loci. Pérégrinations à travers la géographie markérienne. W: A. Habib, V. Paci (red.), Chris Marker et l’imprimerie du regard (ss. 115-131). Paris: L’Harmattan.
Google Scholar
Pitrus, A., Helman, A. (2008). Podstawy wiedzy o filmie. Gdańsk: słowo/obraz terytoria
Google Scholar
Russell, C. (2008). Sans soleil: les infirmités du temps. W: A. Habib, V. Paci (red.), Chris Marker et l’imprimerie du regard (ss. 101-113). Paris: L’Harmattan.
Google Scholar
Scemama, C. (2006). „Histoire(s) du cinéma” de Jean-Luc Godard. La force faible d’un art. Paris: L’Harmattan.
Google Scholar
Valkola, J. (2017). Sans soleil: une phénoménologie des apparences. Cinémaction, (165), ss. 140-148.
Google Scholar
Authors
Barbara Kitabasiakita@wp.pl
University of Silesia Poland
https://orcid.org/0000-0003-3616-9863
Associate Professor, Ph.D., cultural scientist and film expert working at the Institute of Cultural Studies at the University of Silesia. Her academic interests focus on the theory of film and new media (particularly of French provenience), as well as on the issues of image, space, and urbanization. She wrote the books Między przestrzeniami. O kulturze nowych mediów [Between Spaces: The Culture of New Media] (2003) and Obraz zatrzymany. Praktyka i teoria późnego Godarda [Arrested Image: The Theory and Practice of Late Godard] (2013). She is the editor of Przestrzenie tożsamości we współczesnym kinie europejskim [Spaces of Identity in Contemporary European Cinema] (2006) and the co-editor (together with Andrzej Gwóźdź) of the publication Pamięć kina [Memory of Cinema] (2013). Moreover, she co-edited (with Magdalena Kempna-Pieniążek) the books Filmowe pejzaże Europy [Film Landscapes of Europe] (2017) and Filmowe pejzaże Ameryk [Film Landscapes of the Americas] (2020), as well as (with Ilona Copik) Kultury obrazu – tabu – edukacja [Image Cultures – Taboo – Education] (2018). She is also a member of the Polish Society for Film and Media Studies.
Statistics
Abstract views: 307PDF downloads: 296
License
Copyright (c) 2021 Barbara Kita
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
The author grants the publisher a royalty-free non-exclusive licence (CC BY 4.0) to use the article in Kwartalnik Filmowy, retains full copyright, and agrees to identify the work as first having been published in Kwartalnik Filmowy should it be published or used again (download licence agreement). The journal is published under the CC BY 4.0 licence. By submitting an article, the author agrees to make it available under this licence.
In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
Most read articles by the same author(s)
- Barbara Kita, Island of Ruins: The Cracked Landscape of Hashima , Kwartalnik Filmowy: No. 114 (2021): Contamination, Dirt, Flaw
- Barbara Kita, Faces and Landscapes: A Reconnaissance , Kwartalnik Filmowy: No. 123 (2023): Pace and Rhythm
- Barbara Kita, In Postcolonial Europe , Kwartalnik Filmowy: No. 95 (2016): Transnational Dimension of Polish Cinema
- Barbara Kita, „Histoire(s) du Cinéma” by JLG: History of the 20th Century, Methodology of Art and Theory of Cinema , Kwartalnik Filmowy: No. 85 (2014): Film and Media – the Past and the Future
