Paris Watterson | s3896298

La Jetée by Chris Marker

01

TRANS
CEND
ING

THE

PH I
YS CAL
Theory and Design Research
 MEMORY
PERCEPTION
NOSTALGIA
(1)
(1) “This is a story of a man, marked by an image from his childhood.”
- First narration of La Jetée by Jean Negroni

Controlling Argument: This essay asserts that the mind’s interiority, as represented in La Jetée,
becomes a platform for examining how memory, nostalgia, and the uncanny can trans-
form not only our conceptual understanding of space, but also how these elements
manifest within the architecture of our personal and collective consciousness.

UNCANNY
REALITY
FATE/FREE
(1)
WILL
Chris Marker, “La Jetée,” narrated by Jean Négroni (1962; Argos Films, 2003), YouTube video, posted by “Matinee Show,” June 14, 2013, https://www.
youtube.com/watch?v=fU99W-ZrIHQ, 01:50

TRANSCENDING THE PHYSICAL: CONCEPTUAL INTERIORS IN ‘LA JETÉE’

 In the ever-evolving field of interior architecture and design, the exploration of conceptual
spaces — ones that cannot be physically traversed — offers a unique platform
for probing deeper philosophical and psychological dimensions. The intriguing
terrain of the human mind, with its labyrinthine corridors of memory, emotion,
and cognition, serves as one such conceptual interior. It is within this space that
Chris Marker’s 1962 French science fiction film, La Jetée, operates, leveraging
narrative techniques and cinematographic strategies that manifest as compel-
ling interior architectures. This essay endeavours to deconstruct the interior
architectures within La Jetée, approaching the film as a spatial and temporal
construct, much like the built environments we design, inhabit, and interact
with. Here, the ‘interior’ is perceived not as a physical room, but as a meta-
phorical space of human consciousness—a theatre of the mind. This intimate
interior, inhabited by memories, thoughts, and dreams, transcends conventional
architectural constructs, presenting its own set of intriguing design possibilities
01 and challenges. Through the careful analysis of Marker’s storytelling techniques,
the depiction of time, nostalgia, fragmentation, and the uncanny, this essay
provides a critical perspective of how these elements work in tandem to craft
the interior architecture of the mind in La Jetée. As an interior architecture
critique, this paper aims to shed light on the fluid boundaries between built
spaces and imagined interiors, challenging the traditional definitions of our
field, and encouraging a broader, more inclusive understanding of interiority.

Exploring the film La Jetée, we are transported into a deeply layered realms of interiority
— those of the mind and imagination. Marker’s cinematic work navigates the
02 architectural constructs of time, memory, and reality, echoing Chris Marker’s
own words, “Nothing distinguishes memories from ordinary moments. It is
only later that they claim remembrance. By their scars” (2) . The film depicts
the mind’s interior through the protagonist’s dreams, memories, and imaginary
spaces that bear these ‘scars’ of time. Through the lens of interior architec-
ture, these mental constructs are reminiscent of our designs, subjective and
individually unique, adding to the rich tapestry of personal identity. The film’s
protagonist illustrates this profound link between inner experiences and the
external world by crafting physical spaces that serve as a conduit for his time
travel: a correlation also drawn in Suzie Attiwill’s exploration of the dynamic
and mutable relationships between interior and exterior. (3) Our understand-
03
ing of space, as both an embodied reality and a cognitive creation, illuminates
Marker’s approach to the film’s nostalgic scenes, such as the airport and the pier
scenes. These scenes, as Chris Darke notes, are laden with an “air of sadness”
that alludes to a bygone world. (4) This melancholy triggers a sensation akin
to Svetlana Boym’s concept of “nostalgia as a mode of relating to time itself”.
These scenarios serve as powerful metaphors for the interior spaces we design
and inhabit, their emotional resonance shaping our perception of time and
place. (5) By examining the film, we appreciate the film’s portrayal of memories
as both a cognitive and sensorial landscape. It aligns with Giles Deleuze’s argu-
04 ment of the creation of “new interiority” through coping with pain, suggesting
that our environments can deeply influence our personal understanding and
Shots 01-02. On Sundays, parents bring self-interpretation. (6) The mental mapping exercised by the film’s protagonist’s
their children to watch the memories exists at the intersection of reality and virtuality. This interplay calls
planes
Shot 03. A woman’s face is engraved in the
to mind Immanuel Kant’s assertion that “Thoughts without content are empty,
child’s memory intuitions without concepts are blind” (7), underlining the mutual dependence
Shot 04. The woman witnesses the death of understanding and perception in our experience of reality. Thus, La Jetée
of a man at Orly
emerges not just as a filmic narrative, but as a profound exploration of the men-
tal architecture of memory and perception, and a testament to the dynamism
of the interior-exterior relationship.

(2) Chris Marker, “La Jetée,” narrated by Jean Négroni (1962; Argos Films, 2003), YouTube video, posted by “Matinee Show,” June 14, 2013, https://www.
youtube.com/watch?v=fU99W-ZrIHQ, 02:26
(3) Suzie Attiwill, ‘Towards an Interior History’ in IDEA Journal (Brisbane: QUT Publishing, 2004): pg1-8
(4) Chris Darke, La Jetée (London: BFI Publishing, 2016).
(5) Svetlana Boym, The Future of Nostalgia (New York: Basic Books, 2001). 13
(6) Gilles Deleuze, “On Four Poetic Formulas That Might Summarize the Kantian Philosophy” in Essays Critical and Clinical (Minneapolis: University of
Minnesota Press, 1997). 31
003
(7) Immanuel Kant, Critique of Pure Reason, trans. Norman Kemp Smith (London: Macmillan, 1929), A51/B75
 As La Jetée navigates through the labyrinthine pas-
sages of memory, it meticulously constructs an interplay between
space and perception. The protagonist’s journey, weaving through
diverse physical and mental landscapes, epitomises the intimate
connection between memory and space. Much like the fragmented,
non-linear structure of the film, memories too are disjointed and
intermingled, creating a continuum of perception. Maurice Mer-
leau-Ponty, in his seminal work “Phenomenology of Perception,” 05
offers a nuanced understanding of this phenomenon. He posits,
“Moving through the environment, the empty rooms and refur-
bished walls, I am followed at all times by the ghosts who con-
tinue to cohabit my memories, despite no longer existing in the
material world” (8). This perspective delineates how our identities
and memories are intrinsically shaped, not merely by the physical-
ity of spaces but also by the emotional and social ties associated
with them. Merleau-Ponty elaborates on the organic relationship
between the subject and space, stating, “Being-the-world means
being placed…We are forever in the here, and it is from that here
that our experiences take place” (9). This emphasises the notion
that our experiences are shaped by our perception of place and
the gamut of emotions, memories, and dreams associated with it.
These affective states form a prism through which we perceive and
interact with our environments. Merleau-Ponty further explores 06
the ambiguity in human existence, affirming that our experiences
and thoughts possess multiple layers of meanings. Our connection
to the world is complex and multifaceted, underlining the recip-
rocal relationship between us and our surroundings. The use of
still photographs in La Jetée is especially notable in this regard,
offering a visual exploration of space and memory. As Dylan Trigg
elucidates in “The Memory of Place,” these images resemble an
afterlife or a “ghost town” — spaces saturated with a distinctive
atmosphere that oscillates between absence and presence (10).
These images invoke the spatiotemporality of the narrative, sug-
gesting the inseparable relationship between space and time. The
blending of the viewer’s world with the world projected through
the medium of photography facilitates an immersive experience:
a phenomenon amplified by the punctum, as described by Ronald 07
Barthes- those piercing moments frozen in the still images (11). In
this way, La Jetée provokes a nuanced contemplation of percep-
tion, intertwining the fluid realms of memory, space, and time. It Shots 05-07. images that the main protagonist sees as he embarks
resonates with the interior architect’s task- understanding and on his journey of time travel. These images serve as
manifesting the complex interplay between the physicality of space pivotal moments in the narrative and carry significant
symbolic meaning:
and the subjects’ perception. “At first he is simply ejected from the present and its certainties.
They begin again. He does not die. He does not go
mad. He suffers. They continue. On the tenth day, im-
ages begin to appear, like confessions. A morning in
peacetime. A bedroom in peacetime--a real bedroom,
(8) Maurice Merleau-Ponty, Phenomenology of Perception (London: Routledge, 2002). pg. 196
(9) Maurice Merleau-Ponty, Phenomenology of Perception (London: Routledge, 2002). pg.196
(10) Trigg, Dylan, The Memory of Place: A Phenomenology of the Uncanny (Ohio: Ohio University Press, 2012). pg.76
(11) Roland Barthes, Camera Lucida: Reflections on Photography (New York: Hill and Wang, 1981).

004 TRANSCENDING THE PHYSICAL: CONCEPTUAL INTERIORS IN ‘LA JETÉE’

 It is now necessary to delve into the
fragmented narrative structure of La Jetée and
how it illuminates our understanding of memo-
ry and reality. Chris Marker’s masterpiece, com-
prised of a disjointed sequence of still images,
subtly mirrors the nature of our own recollec-
tions. The film rejects a linear progression of 08 09

time, as evidenced by Janet Harbord’s analysis,

where a child bears witness to his own demise
as an adult, thus challenging the conventions of
chronological order (12). Such fragmentation of
time and story is intentional, forcing the viewer
to play an active role in assembling the narrative
from fragments of memories, akin to an internal
archaeology of the mind. This nonlinear structure
cultivates a profound sense of disorientation and
10 11
uncertainty, eerily reminiscent of how we recall
and interpret our own experiences. The museum
scene in La Jetée aptly exemplifies this concept.
Much like a museum that plucks animals from
their natural habitats to curate a new narrative
La Jetée co-opts and rearranges disparate im-
ages to construct a cohesive narrative. This begs
several important questions, as noted by Bruce
Kawin: “Can we ever truly know the past, or are
we always interpreting it through our own biases
and perspectives? And to what extent are our 12 13

perceptions of reality shaped by the images we

encounter?” (13) . Moreover, Harbord’s interpre-
tation of La Jetée as a time capsule, deliberately
archiving a past intended for future viewers, un-
derscores the far-reaching implications of our
constructed narratives: La Jetée a work created
some 60 years ago archived a past directed at
us and other future viewers” (14) This metaphor
accentuates the concept that the narratives we 14 15
remember and recount are not just for our own
consumption but serve to shape future realities.
Shots 08-15. The couple visits a museum of eternal animals
Ultimately, the fragmented storytelling in La Jetée
strikingly mirrors our own fragmented memories
and perceptions of reality. It highlights the critical
role we play, as viewers and as individuals, in
creating and interpreting narratives.

(12) Harbord, Janet. “Chris Marker: La Jetée.” Film/Cinema/Movie 8 (2014): 1-16. https://www.academia.edu/9213410/Chris_Marker_La_Jet%C3%A9e. pg.1
(13) Kawin, Bruce. “Time and Stasis in ‘La Jetée.’” Film Quarterly 36, no. 1 (Autumn 1982): https://www.jstor.org/stable/.pg.3
(14) Harbord, Janet. “Chris Marker: La Jetée.” Film/Cinema/Movie 8 (2014): 1-16. https://www.academia.edu/9213410/Chris_Marker_La_Jet%C3%A9e. pg.18

TRANSCENDING THE PHYSICAL: CONCEPTUAL INTERIORS IN ‘LA JETÉE’ 005

 Interiority, as illuminated by La Jetée, is not just the design
of physical spaces but a profound exploration
into the architecture of the human mind and
spirit. This film stands as a beacon, guiding the
way towards a deeper understanding of our re-
lationship with space, challenging the traditional
confines of our field. By dissecting the labyrinth
Stepping into the uncanny realm depicted in of memory, wrestling with the uncanny, and
La Jetée, the film’s unsettling atmosphere is replete with peering through the lens of nostalgia, we have
elements that blur the boundary between reality and delved into the power of human consciousness
imagination. These elements force the viewer to navigate in creating interiors beyond physical constraints.
this spectral threshold. As Trigg suggests, “The uncanny In elevating our perceptions of what constitutes
refuses to concede to stillness, and instead presents us an ‘interior’, we inspire a revolution in architec-
with something genuinely novel: an augmented familiar- tural thinking, urging the birth of environments
ity, thus (un)familiar to the core (unheimlich)” (15). Visual that truly resonate with our internal landscapes.
Snow Syndrome, a neurological condition I personally ex- It is within these authentic interiors, bridging the
perience, is characterised by a constant visual disturbance, tangible and intangible, that we find the essence
similar to static or snow, and can include additional visual of our humanity echoed back to us. The lessons
and non-visual symptoms. This condition, which creates a drawn from La Jetée have the potential to lead
persistent layer of fragmentation and disruption in visual a paradigm shift, creating a future of interior
perception, uniquely positions me to connect with the vi- architecture that not only houses our bodies but
sual disorientation presented in La Jetée. One of the most also nurtures our souls.
uncanny scenes is the film’s recurring image of a woman’s
face. In its haunting stillness, it feels both intimately familiar
and disconcertingly alien. The film’s nonlinear narrative
only heightens this sense of the uncanny, as viewers find
themselves manoeuvring through disjointed memories and
temporalities, akin to my own experience of visual distur-
bance. Additionally, the image of the stuffed animals in the
museum, a stark symbol of suspended animation, embodies
the uncanny by representing something that should be lively
and vibrant, yet is eerily lifeless and silent. Just as Freud
describes the uncanny as a return of the repressed, these
images bring forth the uncomfortable realisation that life,
as we perceive it, can be uncannily disrupted and frozen in
time.(16) Moreover, the concept of the uncanny, particularly
in relation to the built environment and the experience of
space, can elucidate further the indeterminate landscape of
La Jetée. As Trigg points out, the “disjunction of opposed
twins—familiar/unfamiliar, near/far, homely/unhomely—
the uncanny circumvents laws of logic, yet at the same time
frees itself from the need to be resolved of its paradoxical
status” (17). This inherent tension becomes tangible in the
uncanny landscapes of La Jetée, serving as a visual testa-
ment to the paradoxical and disorienting nature of the un-
canny. To encapsulate, the uncanny entails “the discovery of
something that should have remained hidden, repressed, or
forgotten, but which suddenly emerges into consciousness”
(18) (Royle, 2003, p.1). Within La Jetée, this uncanny emer-

gence is woven into its disjointed narrative, still images,

and dreamlike landscapes, collaboratively reshaping the
viewer’s perception of space, reality, and memory.

(15) Trigg, Dylan. The Memory of Place: A Phenomenology of the Uncanny. Ohio University Press, 2012.
(16) Bronstein, Catalina and Christian Seulin, eds. On Freud’s the Uncanny. Taylor & Francis Group, 2019.
(17) Trigg, Dylan. The Memory of Place: A Phenomenology of the Uncanny. Ohio University Press, 2012.
(18) Royle, Nicholas. “The Uncanny and the Unhomely.” In A Companion to the Gothic, edited by David Punter, 241-252. Hoboken, NJ: Wiley-Blackwell, 2000.

006 TRANSCENDING THE PHYSICAL: CONCEPTUAL INTERIORS IN ‘LA JETÉE’

Figure 6-34. Screenshots from La Jetee. Directed by Chris Marker, La Jetée, 1962.
Circular Timeline

007
 Bibliography

Bronstein, Catalina, and Christian Seulin, eds. On Freud’s the Uncanny. Taylor & Francis Group,
2019. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/rmit/detail.
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Chipp, Herschell B. “Dada, Surrealism and Scuola Metafisica: The Irrational and the Dream.”
In Theories of Modern Art: A Source Book by Artists and Critics, edited by Herschel
B. Chipp, 366-375. Berkeley: University of California Press.

Darke, Chris. La Jetée. BFI Publishing, 2016. http://ebookcentral.proquest.com/lib/rmit/detail.

action?docID=5400946. Accessed April 7, 2023.

Friedlander, Saul. “La ‘Jetee’: Regarding the Gaze (Film by Chris Marker).” Boundary 2 28, no.
1 (2001): 75-90. Accessed March 31, 2023.

Harbord, Janet. “Chris Marker: La Jetée.” Film/Cinema/Movie 8 (2014): 1-16. Accessed March
27, 2023. https://www.academia.edu/9213410/Chris_Marker_La_Jet%C3%A9e.

Huebner, Karla. “Nostalgia and La Jetée.” Contemporaneity (Pittsburgh, PA) 4 (2015): 95-107.
Accessed March 31, 2023. ProQuest.

Kant, Immanuel, and J. M. D. Meiklejohn. Critique of Pure Reason. Translated by J. M. D. (John

Miller Dow) Meiklejohn. Mineola, New York: Dover Publications, Inc., 2018.

Kawin, Bruce. “Time and Stasis in ‘La Jetée.’” Film Quarterly 36, no. 1 (Autumn 1982): 15-20. Ac-
cessed March 31, 2023. https://www.jstor.org/stable/3697180. DOI: 10.2307/3697180.

Locke, Patricia M., and Rachel McCann, eds. Merleau-Ponty: Space, Place, Architecture. Ohio
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lib/rmit/detail.action?docID=4386510. Accessed April 7, 2023.

Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. John Wiley & Sons,
Incorporated, 2012. ProQuest Ebook Central, http://ebookcentral.proquest.com/
lib/rmit/detail.action?docID=896076. Accessed April 7, 2023.

Ream, David. “Seeing ‘La Jetée’.” Literature Film Quarterly 13, no. 2 (1985): 71-73. Accessed
March 27, 2023.

Trigg, Dylan. The Memory of Place: A Phenomenology of the Uncanny. Ohio University Press,
2012. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/rmit/detail.
action?docID=1773381. Accessed April 7, 2023.

Witt-Jauch, Martina. “Image Versus Imagination: Memory’s Theatre of Cruelty in Chris Mark-
er’s La Jetée.” Alphaville: Journal of Film and Screen Media, no. 4, 2012, pp. 76-90,
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