ABSTRACT

Previous scholarship focusing on Chris Marker’s involvement with social movements tends to overlook the inextricability of social and environmental concerns and to position the 1980s as a return for Marker to personal filmmaking. This article seeks to recontextualise Marker’s work from Japan during this period to reveal the continuity of earlier preoccupations with social movements and planetary concerns. It draws on Félix Guattari’s notions of ecosophy and the three ecologies in an analysis of the train motif in several of Marker’s multimedia works. The analysis elucidates an ecological consciousness facilitated by the train in work such as Sans soleil (1982), its photo-textual companion Le Dépays (1982) and the photography exhibit and book Passengers (2011) as well as a search in these works for new forms of collectivity. Finally, the article draws on archival material to reveal previously unknown connections between Michel Butor, Marker, the train and the genesis of Le Dépays.

摘要

以前关注 Chris Marker 参与社会运动的学术研究往往忽略了社会和环境问题的不可分割性，并将 1980 年代定位为 Marker 回归个人电影制作。本文试图将 Marker 在这一时期的日本作品重新置于语境中，以揭示早期对社会运动和行星关注的关注的连续性。它借鉴了 Félix Guattari 的生态哲学和三种生态学概念，分析了 Marker 多部多媒体作品中的火车主题。分析阐明了火车在工作中促进的生态意识，例如Sans soleil (1982)、它的照片文本伴侣Le Dépays (1982) 以及摄影展览和书籍《乘客》（2011）以及在这些作品中寻找新的集体形式。最后，文章利用档案材料揭示了 Michel Butor、Marker、火车和Le Dépays的起源之间以前未知的联系。