Montage, Militancy, Metaphysics: Chris Marker and André Bazin

(E): This article focuses on the relationship between the work of André Bazin and Chris Marker from the late 1940s through to the late 1950s and beyond. The division between Bazin's Right Bank affiliation with Les Cahiers du Cinéma on the one hand, and Marker s Left Bank allegiances on the other, is called into question here as my argument seeks to muddy the waters of their conventional ideological separation across the river Seine. Working alliteratively through Marker s well-known talent for deft montage along with his militancy, I consider Bazin s praise for Marker s editing technique in spite of famously expressing a preference elsewhere for the long take, and deep focus cinematography and I address their political differences and convergences. Yet I also explore the rather more unexpected question of metaphysics in order to further emphasize a closer relationship between these two figures. I chart the emergence of an enduring spiritual bond between critic and filmmaker that surfaces first in Marker s writings for the left-wing Catholic journal L’Esprit, but that continues beyond Bazin s death, in Marker s two films made on the crest of the French New Wave: Le Joli Mai and La Jetée. (F): Cet article traite du lien entre les oeuvres d'André Bazin et de Chris Marker à partir de la fin des années 1940 jusqu'à la fin des années 1950 et au-delà. La distinction entre l'affiliation rive droite de Bazin avec