Title
Statues also die, but their death is not the final word Statues also die, but their death is not the final word
Author
Faculty/Department
Faculty of Social Sciences. Communication Sciences
Publication type
article
Publication
Subject
Politics
Mass communications
Source (journal)
Image and narrative online magazine of the visual narrative
Volume/pages
11(2010) :1 , p. 29-46
ISSN
1780-678X
vabb
c:vabb:289502
Carrier
E
Target language
English (eng)
Affiliation
University of Antwerp
Abstract
Abstract (E): Along with people like Césaire, Sartre and Howlett, Chris Marker cherished in 1953 the hope that African artefacts would be removed from the museum. In the film Les Statues meurent aussi (‗Statues Also Die 1950-53) Marker as director and writer, accompanied by Resnais as co-director, Ghislain Cloquet as cameraman and Guy Bernard as composer, took up the mission to challenge the prevailing gaze on African artefacts. How does Markers Les Statues meurent aussi look upon African art? Abstract (F): À linstar de personnes comme Césaire, Sartre et Howlett, Chris Marker cultiva lespoir en 1953 que les artefacts africains puissent sortir du strict cadre des musées. Dans le film Les Statues meurent aussi (1950-53), Marker, en tant que réalisateur et scénariste, secondé par Resnais, comme co-réalisateur, Ghislain Cloquet comme directeur de la photographie et Guy Bernard comme compositeur, se donna pour mission de contester le regard figé prédominant sur les artefacts africains. Quel regard porte sur lart africain Les statues meurent aussi de Marker ?
Full text (open access)
https://repository.uantwerpen.be/docman/irua/28502c/6cd47aa3.pdf
Handle