Abstract
Chris Marker, best known for his 1962 film, La Jetée, released Sans Soleil in 1982. Sans Soleil migrates quickly between places, time spans and a continual collectomania of images by Marker and other cameramen. Sans Soleil's image repertoire is as fleeting as Marcel Proust's famous, evasive nibble of the scallop‐shell shaped madeleine cake. This essay explores Marker's interest in the profoundness of Proustian memory. As Marker claims in his ‘sunless’ film: ‘I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember, we rewrite memory much as history is rewritten.’
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