Editing La Jetée (section)

==Interpretation==
In ''Black and Blue'', her study of postwar French fiction, [[Carol Mavor]] describes ''La Jetée'' as "taking place in a no-place (u-topia) in no-time ([[Uchronia|u-chronia]])" which she connects to the time and place of the [[fairy tale]]. She further elaborates: "even the sound of the title resonates with the fairy-tale surprise of finding oneself in another world: ''La Jetée'' evokes 'là j'étais' (there I was)". By "u-topia", Mavor does not refer to "[[utopia]]" as the word is commonly used; she also describes an ambiguity of [[dystopia]]/utopia in the film: "It is dystopia with the hope of utopia, or is it utopia cut by the threat of dystopia."<ref>{{cite book | last=Mavor | first=Carol | author-link=Carol Mavor|title=Black and Blue: The Bruising Passion of Camera Lucida, La Jetée, Sans soleil, and Hiroshima mon amour | date=2012 | page=60 | publisher=Duke University Press |url=https://books.google.com/books?id=OiFkvwzEoGsC&q=%22It+is+dystopia+with+the+hope+of+utopia%22&pg=PA60 | isbn=978-0-8223-5271-6 | access-date=11 September 2015}}</ref>

[[Tor Books]] blogger Jake Hinkson summed up his interpretation in the title of an essay about the film, "There's No Escape Out of Time". He elaborated:

{{blockquote|text=What [the protagonist] finds ... is that the past is never as simple as we wish it to be. To return to it is to realize that we never understood it. He also finds—and here it is impossible to miss Marker's message for his viewers—a person cannot escape from their own time, anyway. Try as we might to lose ourselves, we will always be dragged back into the world, into the here and now. Ultimately, there is no escape from the present.}}

Hinkson also addresses the [[symbolism (arts)|symbolic]] use of imagery: "The Man is blindfolded with some kind of padded device and he sees images. The Man is chosen for this assignment because ... he has maintained a sharp mind because of his attachment to certain images. Thus a film told through the use of still photos becomes about looking at images." He further observes that Marker himself did not refer to ''La Jetée'' as a film, but as [[photo novel]].<ref>{{cite web|url=http://www.tor.com/2014/11/03/theres-no-escape-out-of-time-la-jetee/|title=There's No Escape Out of Time: ''La Jetée''|last=Hinkson|first=Jake|date=3 November 2014|website=Tor.com|publisher=Tor Books/Macmillan|access-date=14 June 2015}}<!--As an official blog from a major sci-fi publisher this is not a WP:SPS.--></ref>

Yannis Karpouzis makes a [[structuralistic]] analysis on ''La Jetée'', examining it as an intermedial artwork: Chris Marker creates an "archive" of objects and conditions that have a photographic quality of their own and they are followed by the same predicates as pictures. The dialogue between the media (photography and cinematography) and the filmic [[signifier]] (film stills, storyline and narration) is constantly in the backdrop.<ref>{{cite book |last= Karpouzis|first= Yannis |date= 2019|title= The empty square of Chris Marker: a structural analysis on La Jetée |publisher= Architecture school of Athens}}</ref>