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...chronicle of the 20th century. In 2005 the first piece in this opus emerged in the form of The Hollow Men, a multi-screen prelude inspired by TS Eliot's 1925 poem. Images of the devastation of World War I alternate with fragments of Eliot's text. The whole sequence, confined to a palette of black and white pixels, unravels in two streams across eight horizontally aligned monitors.
In this new work, as in his previous films and the CDROM Immemory (1998; English version 2002), Marker is our generous escort in a garden of forking paths, providing critical insight and playful interpretation of disparate materials. If Owls at Noon appears audacious in scope, Marker's approach to gathering history is nevertheless guided by a modest impulse. As self-appointed caretaker of the minor ephemera of the last century, Marker muses about the project:
"Owls at noon, night birds in the day, things, objects, images that don't belong and yet are there. Leaflets, postcards, stamps, graffiti, forgotten photographs, frames stolen...
NOTE: All illustrations and photos
have been removed from this article.
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