During his early journalism career, Marker became increasingly interested in filmmaking and experimented with photography in the early 1950s.

On December 17, 1982, Karamu became listed in the U. S. National Register of Historic Places, and received an Ohio Historical Marker on June 16, 2003.

His conversion of diosgenin into progesterone by a four-step process now known as Marker degradation was an important step in mass production of all steroidal hormones, including cortisone and chemicals used in hormonal contraception.

Little Miss Marker ( also known as The Girl in Pawn ) is a 1934 American drama film directed by Alexander Hall.

Marker of Unknown Child ; positively identified as Sidney Goodwin One of the more well-known Titanic markers is for an unidentified child victim, known for decades as The Unknown Child.

Marker horizons consist of a mineral such as feldspar that is buried at a known depth within wetland substrates to record the increase in overlying substrate over long time periods.

* Microsoft Studios acquires developer Press Play, known for developing Tentacles and Max & the Magic Marker.

Later in his career, he went on to found a steroid industry in Mexico when he successfully made semisynthetic progesterone from chemical constituents found in Mexican yams in a process known as Marker degradation.

* Apolinario Mabini Marker ( Cuyapo )-Site of the arrest of Philippine hero Apolinario Mabini, known as “ the sublime paralytic ,” by the Americans on December 10, 1899.

" When asked about his secretive nature, Marker has said " My films are enough for them audience.

After working as assistant director on Resnais's Night and Fog in 1955, Marker made Sunday in Peking, a short documentary " film essay " that would characterize Marker's unique film style for most of his career.

After working on the commentary for Resnais ' film Le mystère de l ' atelier quinze in 1957, Marker continued to form his own cinematic style with the feature documentary Letter from Siberia.

It was the last film in which Marker includes " travel footage " for many years.

Marker had collaborated with Belgian sociologist Armand Mattelart and ISKRA members Valérie Mayoux and Jacqueline Meppiel to shoot and collect the visual materials, which Marker then edited together and provided the commentary for.

From this trip, Marker first published the photo-essay Le Dépays in 1982, as well as using the experience for his next film Sans Soleil, released in 1982.

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 poem.

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.

** Note: under the pseudonym " Jacopo Berenizi " Marker wrote the commentary for this short about whale hunters in the Azores.

** Note: Marker wrote the commentary for this fictional short ( Film Comment ).

** Note: Marker wrote and spoke all the commentary for this short film about fruit juice in Alexandrine verse ( Film Comment ).

** Note: Marker present commentary for this " somber work about the daily lives of fishermen on Brittany's Île de Sein " ( Film Comment ).

** Note: Marker was eventually credited as a writer for this one, apparently, he wrote the dialogue ( Film Comment ).

** Note: Marker wrote the introductory text for this film under the name " Boris Villeneuve " ( Film Comment ).

** Note: Marker helped produce and contributed to the screenplay for this, perhaps the greatest of all documentary films ( Film Comment ).

Route Marker for Guam Highway 8.

Ohio Historical Marker for the Battle of Phillips Corner, which was part of the Boundary Dispute between Michigan and Ohio.

I was especially intrigued by the institution of the Marker and his function in rating master-songs .... I conceived during a walk a comic scene in which the popular artisan-poet, by hammering upon his cobbler's last, gives the Marker, who is obliged by circumstances to sing in his presence, his come-uppance for previous pedantic misdeeds during official singing contests, by inflicting upon him a lesson of his own.

The Levenshtein distance measurement is more appropriate for measuring raw channel performance before frame synchronization, and when using error correction codes designed to correct bit-insertions and bit-deletions, such as Marker Codes and Watermark Codes.

Runyon was pleased with the changes and later said, " Lady for a Day was no more my picture than Little Miss Marker, which, like the former picture, was almost entirely the result of the genius of the scenario writers and the director who worked on it.

The Magic Band began recordings for Trout Mask Replica with bassist Gary ' Magic ' Marker at T. T. G.

At Esprit, Marker wrote political commentaries, poems, short stories and ( with Bazin ) film reviews.

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 ".

** Note: Marker edited this ( mostly ) animated science-fiction exstentialist short and ( possibly ) collaborated on the script ( Film Comment ).

** Note: Marker helped film and edit this short ( Film Comment ).

" The film Little Miss Marker ( and its remake, Sorrowful Jones ) grew from his short story of the same name.

In his decade of making documentary short films, Resnais had established his interest in and talent for collaboration with leading figures in other branches of the arts ; with the painters who were the subjects of his early works ; with writers ( Eluard in Guernica, Cayrol in Nuit et Brouillard, Queneau in Le Chant du styrène ); with musicians ( Darius Milhaud in Gauguin, Hanns Eisler in Nuit et Brouillard, Pierre Barbaud in Le Chant du styrène ); and with other film-makers ( Resnais was the editor of Agnès Varda's first film, La Pointe courte, and co-directed with Chris Marker Les statues meurent aussi ).

* 1954: Les statues meurent aussi ( short ) by Alain Resnais and Chris Marker

Later, the segments were taken over by Bill Cosby and the lessons were used with his marker named " Mortimer Ichabod Marker " ( or " MI ", for short ).

Chris Marker (; 29 July 1921 – 29 July 2012 ) was a French writer, photographer, documentary film director, multimedia artist and film essayist.

In 1952 Marker made his first film, Olympia 52, a 16mm feature documentary about the 1952 Helsinki Olympic Games.

The film was shot in two weeks by Marker while he was traveling through China with Armand Gatti in September 1955.

An essay on the gradual destruction of Siberia's culture and individuality, the film combines footage that Marker shot in Siberia, old newsreel footage, cartoons, stills and, at one point, an illustration of Alfred E. Neuman from Mad Magazine, all accompanied by Marker's signature commentary, which takes the form of a letter from the director to his audience.

In 1959 Marker made the animated film Les Astronautes with Walerian Borowczyk.

In January 1961, Marker traveled to Cuba and shot the film ¡ Cuba Sí !.

Like he had with montages of landscapes and indigenous art, Marker created a film essay that contrasts and juxtaposes a variety of lives with his signature commentary ( spoken by Marker's friends, singer-actor Yves Montand in the French version and Simone Signoret in the English version ).

In 1967 Marker published his second volume of collected film essays, Commentaires II.

That same year, Marker organized the omnibus film Loin du Vietnam, a protest against the Vietnam War with segments contributed by Marker, Jean-Luc Godard, Alain Resnais, Agnès Varda, Claude Lelouch, William Klein, Michele Ray and Joris Ivens.

After the events of May 1968, Marker felt a moral obligation to abandon his own personal film career and devote himself to SLON and its activities.

Marker had been working on a film about Chile with ISKRA since 1973.

Marker begins the film with the Odessa Steps sequence from Sergei Eisenstein's film The Battleship Potemkin, which Marker points out is a fictitious creation of Eisenstein which has still influenced the image of the historical event.

Marker used very little commentary in this film, but the film's montage structure and preoccupation with memory make it a Marker film.