Perhaps the most interesting aspect of La Jetee is the exceptional and innovative cinematography; despite
being made almost entirely of still images the film at no point feels static
with the camera moving across the pictures, often from right to left, in a way
that creates a very unusual and engaging mise-en-scène. The composition of the
original still images is also highly deliberate, often featuring people
seemingly in the middle of an action. This effect is highlighted by the clever
transitions employed by Marker; for example, in the early sequence of the
primary character being placed in the hammock there is a subtle fading between
the images of his agony, as if each moment depicted were so painful they
naturally form a series of points. This feeling of movement is so striking that
when the viewer does finally have the small bit of film in the picture, a three
second or so shot of the women walking from sleep, it feels completely natural.
Great observations. I agree that the photos have a sequential flow to them so that the film, which has the potential to feel out of place, fits in seamlessly. I thought that the point Marker was making is that film isn't a definitive medium, and can have infinite aesthetic potential, outside of the typical "motion picture" film.
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