Abstract
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.
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