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dc.contributor.authorO'Dwyer, Julesen
dc.date.accessioned2017-12-11T13:36:28Z
dc.date.available2017-12-11T13:36:28Z
dc.date.issued2017-12-01en
dc.identifier.issn0036-9543
dc.identifier.urihttps://www.repository.cam.ac.uk/handle/1810/270131
dc.description.abstractChris Marker’s six-minute film Junkopia (1981) was shot alongside his ambitious feature-length project Sans Soleil/Sunless (1982). While the latter ‘nomadic’ film-text comprises a string of encounters spanning national and temporal registers with the most vertiginous of gestures, Junkopia’s geographic fixity is striking. The exacting intertitles anchor us in space: a latitude of 37° 45’ north and a longitude of 122° 27’ west. Experimental in nature, the film shows a succession of static shots at varying distances from the filmic subject matter: junk, totems, fantastical statues formed from detritus that presumably once washed up on the shores. Through an unfolding sequence of shots we gradually move closer to the muddy banks. When the objects are framed against the backdrop of moving cars in a motorway lane nearby, the rhythms of everyday life are held in tension with the strangely ahuman, atemporal world of statues.
dc.languageEnglishen
dc.publisherOxford University Press
dc.titleReorienting objects in Alain Resnais and Chris Marker’s Les Statues Meurent Aussien
dc.typeArticle
prism.endingPage507
prism.issueIdentifier4en
prism.publicationDate2017en
prism.publicationNameScreenen
prism.startingPage497
prism.volume58en
dc.identifier.doi10.17863/CAM.16955
dcterms.dateAccepted2017-07-24en
rioxxterms.versionofrecord10.1093/screen/hjx039en
rioxxterms.versionAM*
rioxxterms.licenseref.urihttp://www.rioxx.net/licenses/all-rights-reserveden
rioxxterms.licenseref.startdate2017-12-01en
dc.contributor.orcidO'Dwyer, Jules [0000-0002-3081-9709]
dc.identifier.eissn1460-2474
rioxxterms.typeJournal Article/Reviewen
cam.issuedOnline2017-12-22en
rioxxterms.freetoread.startdate2019-12-01


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