Working primarily in the arena of nonfiction, Marker rejected conventional narrative techniques, instead staking out a deeply political terrain defined by the use of still images, atmospheric soundtracks, and literate commentary. In Description d’un Combat, Marker’s idiosyncratic style, combining location footage with archival material, builds a complex and personal portrayal. Israel’s demography is explored, from the kibbutzim to the Arab minorities, the orthodox Jews, and the tourists. The “battle” of the title does not refer to the tank-and-artillery variety, but to the inner struggle of Israeli citizens to adapt to a new view of themselves, in a new country.
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Working primarily in the arena of nonfiction, Marker rejected conventional narrative techniques, instead staking out a deeply political terrain defined by the use of still images, atmospheric soundtracks, and literate commentary. In Description d’un Combat, Marker’s idiosyncratic style, combining location footage with archival material, builds a complex and personal portrayal. Israel’s demography is explored, from the kibbutzim to the Arab minorities, the orthodox Jews, and the tourists. The “battle” of the title does not refer to the tank-and-artillery variety, but to the inner struggle of Israeli citizens to adapt to a new view of themselves, in a new country.
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