Editing Chris Marker (section)

==Multimedia and later career (1987–2012)==

Beginning with ''Sans Soleil'', Marker developed a deep interest in [[Digital data|digital]] technology. From 1985 to 1988, he worked on a conversational program (a prototypical chatbot) called "Dialector," which he wrote in [[Applesoft BASIC]] on an [[Apple II]]. He incorporated audiovisual elements in addition to the snippets of dialogue and poetry that "Computer" exchanged with the user. Version 6 of this program was revived from a floppy disk (with Marker's help and permission) and emulated online in 2015.<ref>{{Cite web|url=http://dialector.poptronics.fr/|title=History of the Dialector Program|last1=de Cayeux|first1=Agnes|last2=Lozano|first2=Andrès|date=2015|website=poptronics|archive-url=https://web.archive.org/web/20180514194946/http://dialector.poptronics.fr/|archive-date=14 May 2018|access-date=14 May 2018|last3=Rivoire|first3=Annick}}</ref><ref>{{Cite news|url=https://chrismarker.org/history-of-the-dialector-program/|title=History of the Dialector Program|date=2015-11-01|work=Chris Marker|access-date=2018-05-14|language=en-US}}</ref>

His interests in digital technology also led to his film ''[[Level Five (film)|Level Five]]'' (1996) and ''Immemory'' (1998, 2008),<ref>{{cite web|title=Chris Marker|url=http://www.eai.org/artistBio.htm?id=317|publisher=[[Electronic Arts Intermix]]|access-date=13 April 2012|archive-url=https://web.archive.org/web/20110121123131/http://eai.org/artistBio.htm?id=317|archive-date=21 January 2011|url-status=dead}}</ref> an interactive multimedia [[CD-ROM]], produced for the [[Centre Pompidou]] (French language version) and from [[Exact Change]] (English version). Marker created a 19-minute multimedia piece in 2005 for the [[Museum of Modern Art]] in New York City titled ''Owls at Noon Prelude: The Hollow Men'' which was influenced by [[T. S. Eliot]]'s [[The Hollow Men|poem]].<ref name=MOMA1>{{cite web |url=http://www.moma.org/visit/calendar/exhibitions/115 |title=Owls at Noon Prelude: The Hollow Men |last=Staff |date=April 2005 | publisher = [[Museum of Modern Art]] |access-date= 7 July 2012 }}</ref>

Marker lived in Paris, and very rarely granted interviews. One exception was a lengthy interview with ''[[Libération]]'' in 2003 in which he explained his approach to filmmaking.<ref>{{cite news|title=Rare Marker|date=5 March 2003|newspaper=[[Libération]]|url=https://www.liberation.fr/cinema/2003/03/05/rare-marker_457649/|language=fr}}</ref> When asked for a picture of himself, he usually offered a photograph of a cat instead. (Marker was represented in Agnes Varda's 2008 documentary ''The Beaches of Agnes'' by a cartoon drawing of a cat, speaking in a technologically altered voice.) Marker's own cat was named ''Guillaume-en-égypte''. In 2009, Marker commissioned an [[commons:File:Guillaume En-Egypte.png|Avatar of Guillaume-en-Egypte]] to represent him in [[machinima]] works. The avatar was created by Exosius Woolley and first appeared in the short film / machinima, ''Ouvroir the Movie by Chris Marker''.

In the 2007 [[Criterion Collection]] release of ''La Jetée'' and ''Sans Soleil'', Marker included a short essay, "Working on a Shoestring Budget". He confessed to shooting all of ''Sans Soleil'' with a silent film camera, and recording all the audio on a primitive [[audio cassette]] recorder. Marker also reminds the reader that only one short scene in ''La Jetée'' is of a moving image, as Marker could only borrow a movie camera for one afternoon while working on the film.

From 2007 through 2011 Marker collaborated with the art dealer and publisher Peter Blum on a variety of projects that were exhibited at the Peter Blum galleries in New York City's Soho and Chelsea neighborhoods. Marker's works were also exhibited at the Peter Blum Gallery on 57th Street in 2014. These projects include several series of printed photographs titled ''PASSENGERS'', ''Koreans'', ''Crush Art'', ''Quelle heure est-elle?'', and ''Staring Back''; a set of photogravures titled ''After Dürer''; a book, ''PASSENGERS''; and digital prints of movie posters, whose titles were often appropriated, including ''Breathless'', ''Hiroshima Mon Amour'', ''Owl People'', and ''Rin Tin Tin''. The video installations ''Silent Movie'' and ''Owls at Noon Prelude: The Hollow Men'' were exhibited at Peter Blum in 2009.<ref>{{Cite web|url=https://peterblumgallery.com/exception/info|title=Peter Blum Gallery, New York|website=peterblumgallery.com}}</ref> These works were also exhibited at the 2014 & 2015 Venice Biennale, Whitechapel Gallery in London, the MIT List Visual Arts Center in Cambridge, Massachusetts, the Carpenter Center for the Visual Arts at Harvard University, the Moscow Photobiennale, Les Recontres d'Arles de la Photographie in Arles, France, the Centre de la Photographie in Geneva, Switzerland, the Walker Art Center in Minneapolis, Minnesota, the Wexner Center for the Arts in Columbus, Ohio, The Museum of Modern Art in New York, and the Pacific Film Archive in Berkeley, California. Since 2014 the artworks of the Estate of Chris Marker are represented by Peter Blum Gallery, New York.<ref>{{cite web| url = http://www.peterblumgallery.com| title = Peter Blum Gallery, New York}}</ref><ref>{{Cite web|url=http://peterblumgallery.com/artists/chris-marker/biography|title = Peter Blum Gallery, New York}}</ref>

Marker died on 29 July 2012, his 91st birthday.<ref>{{cite news|last=Bergan|first=Ronald|title=Chris Marker obituary|url=https://www.telegraph.co.uk/news/obituaries/culture-obituaries/film-obituaries/9439368/Chris-Marker.html|newspaper=telegraph.co.uk|date=30 July 2012}}</ref>