Please use this identifier to cite or link to this item:
Title Between Truth and Fiction: the Problem of Evidence in Non-Fiction Films by Chris Marker
Author email
About author Davydova, Olga Sergeevna — Ph. D., head lecturer. Saint Petersburg State University, Universitetskaia nab., 7/9, 199034 St. Petersburg, Russian Federation.
In the section Art Theory DOI10.18688/aa200-4-57
Year 2020 Volume 10 Pages 624631
Type of article RAR Index UDK 7.038.53: 791.43 Index BBK 85.373(3)

The article brings forward the analytics of documentary representation strategies used by Chris Marker in his nonfiction films. The cinematographic work of a famous French director is explored in its connection with the overall process of evolution of nonfiction films. Based on the transformation of the very idea of veracity, Marker’s cinema is described and analyzed as a radical way to overcome the politics of documentary representation expressed in expository mode films. Transforming the structure of a documentary image through re-distribution of verbal and visual, Marker manages to create a specific form of cinematographic evidence.This new type of evidence is placed within spectator’s experience; spectator’s memory and affectivity are involved into the structure of evidence and the spectator becomes responsible for veracity or non-veracity of an image. The analysis of Marker’s film work involves the theoretical concepts of documentary representation modes by Bill Nichols and the idea of distribution of the sensible by Jacques Rancière. The films analyzed include Lettre de Sibérie, Sans Soleil and Le Tombeau d’Alexandre.

Reference Davydova, Olga S. Between Truth and Fiction: the Problem of Evidence in Non-Fiction Films by Chris Marker. Actual Problems of Theory and History of Art: Collection of articles. Vol. 10. Ed: A. V. Zakharova, S. V. Maltseva, E. Iu. Staniukovich-Denisova. — Lomonosov Moscow State University / St. Petersburg: NP-Print, 2020, pp. 624–631. ISSN 2312-2129.
Publication Article language russian
  • Abdullaeva Z. Postdoc: igrovoe / neigrovoe (Postdoc: Fiction / Nonfiction). Moscow, Novoe Literaturnoe Obozrenie Publ., 2011. 480 p. (in Russian).
  • Aitken I. (ed.) The Concise Routledge Encyclopedia of the Documentary Film. London; New York, Routledge Publ., 2013. 1120 p.
  • Barnouw E. Documentary: A History of the Non-Fiction Film. New York, Oxford University Press Publ., 1993. 400 p.
  • Barsam R. M. Non-Fiction Film: Theory and Criticism. New York, Dutton Publ., 1973. 382 p.
  • Barsam R. M. Non-Fiction Film: A Critical History. Bloomington, Indiana University Press Publ., 1992. 482 p.
  • Bordwell D.; Carroll N. Post-Theory: Reconstructing Film Studies. Madison, The University of Wisconsin Press Publ., 1996. 582 p.
  • Chamarette J. Phenomenology and the Future of Film: Rethinking Subjectivity beyond French Cinema. London, Palgrave Macmillan Publ., 2012. 271 p.
  • Grant B. K.; Sloniowski J. (eds.). Documenting the Documentary. Detroit, Wayne State University Press Publ., 2014. 488 p.
  • Gray H. Robert Flaherty and the Naturalistic Documentary. Hollywood Quarterly, 1950, 5.1, pp. 41–48.
  • Harbord J. Chris Marker: La Jetée. London, Afterall Books Publ., 2009. 102 p.
  • Jacobs L. (ed.) The Documentary Tradition. New York; London, W. W. Norton & Company Publ., 1979. 608 p.
  • Kahana J. The Documentary Film Reader: History, Theory, Criticism. Oxford: Oxford University Press Publ., 2016. 1024 p.
  • Lupton C. Chris Marker: Memories of the Future. London, Reaktion Books Publ., 2008. 256 p.
  • Nichols B. Introduction to Documentary. Bloomington, Indiana University Press Publ., 2001. 223 p.
  • Prozhiko G. S. Konceptsiia real’nosti v ekrannom dokumente (Conception of Reality in Film Document). Moscow, Vserossiiskii gosudarstvennyi institut kinematografii Publ., 2004. 454 p. (in Russian).
  • Rancière J. Malaise dans l’esthétique. Paris, Éditions Galilée Publ., 2004. 172 p. (in French).
  • Rancière J. Film Fables. New York; London, Bloomsbury Academic Publ., 2016. 208 p.
  • Rancière J. The Politics of Aesthetics. London, New York, Continuum Publ., 2011. 107 p.
  • Renov M. (ed.). Theorizing Documentary. London; New York, Routledge Publ., 1993. 261 p.
  • Rothman W. Documentary Film Classics. Cambridge, Cambridge University Press Publ., 1997. 218 p.
  • Tanke J. J. Jacques Rancière: An Introduction: Philosophy, Politics, Aesthetics. London, New York, Continuum Publ., 2011. 189 p.