In 2012 the filmmaker Chris Marker died having just created a photo essay framing faces encountered in the claustrophobic spaces of public transport. After a lifetime of storytelling often best evoked as a blend of documentary and personal reflection, the quality of self-effacement that permeates Marker’s practice sometimes characterized as capturing ‘life in the process of becoming history’, raises questions of authorship in current culture. In particular, to make ‘documentary’ must we seek to become less present; more invisible?

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