ABSTRACT
This chapter discusses World Cinema on its own terms, or at least to its international precursors. Chris Marker, as internationalist cine-activist par excellence, meanwhile, helped Latin American filmmakers such as Silvio Tendler from Brazil and Patricio Guzman from Chile. A man of the independent non-Stalinist and anti-colonialist left, Chris Marker was in Albert Memmi’s terms “the colonizer who refuses.” Nevertheless, an implicit global utopia of anti-authoritarian socialism haunts many of Marker’s films. Jose Miguel Palacios, in his exhaustive research on Chilean exile cinema, demonstrates that in historical terms “internationalism” remains highly relevant to specific moments in film history. For Palacios, the key word is “solidarity,” as the name for an idea, a set of practices, and a “mode of political subjectivity”. Shuttling between decades and nations and regions in a kind of transhistorical montage, Marker threads together scenes of revolt from different periods in France, Chile, Germany, Brazil, and the U.S.
