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<p align="left"> </p><p><strong><span style="font-size: small;">Abstract (E): </span></strong><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">This article focuses on the relationship between the work of André Bazin and Chris Marker from the late 1940s through to the late 1950s and beyond. The division between Bazin's ŘRight Bankř affiliation with </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">Les Cahiers du Cinéma </span></span></em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">on the one hand, and Markerřs ŘLeft Bankř allegiances on the other, is called into question here as my argument seeks to muddy the waters of their conventional ideological separation across the river Seine. Working alliteratively through Markerřs well-known talent for deft montage along with his militancy, I consider Bazinřs praise for Markerřs editing technique Ŕ in spite of famously expressing a preference elsewhere for the long take, and deep focus cinematography Ŕ and I address their political differences and convergences. Yet I also explore the rather more unexpected question of metaphysics in order to further emphasize a closer relationship between these two figures. I chart the emergence of an enduring spiritual bond between critic and filmmaker that surfaces first in Markerřs writings for the left-wing Catholic journal </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">L’Esprit</span></span></em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">, but that continues beyond Bazinřs death, in Markerřs two films made on the crest of the French New Wave: </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">Le Joli Mai </span></span></em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">and </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">La Jetée</span></span></em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">. </span></span></p><strong><span style="font-size: small;"><strong><font size="3"><p>Abstract (F):</p></font></strong></span><p> </p></strong><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">Cet article traite du lien entre les oeuvres d'André Bazin et de Chris Marker à partir de la fin des années 1940 jusqu'à la fin des années 1950 et au-delà. La distinction entre l'affiliation « rive droite » de Bazin avec </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">Les Cahiers du cinéma </span></span></em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">d'une part, et, d'autre part, l'affiliation « rive gauche » de Marker est remise en question ici, dans la mesure où mon argumentaire cherche à brouiller les pistes de leur séparation idéologique conventionnelle. Avec un clin d'oeil allitératif, creusant le talent bien connu de Marker pour un montage subtil ainsi que son militantisme, j'examine l'éloge de Bazin pour la technique de découpage de Marker Ŕ et ce, malgré sa préférence célèbre pour le plan séquence et le champ en profondeur Ŕ et j'aborde aussi leurs différences et ressemblances politiques. Enfin, je considère la question plus surprenante de la métaphysique, portant sur l'oeuvre de Marker, et non celui de Bazin : un lien durable apparaît entre le critique et le cinéaste dans les écrits de Marker publiés dans la revue catholique de gauche </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">L'Esprit</span></span></em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">, dont la ligne se prolongea au-delà de la mort de Bazin dans deux films que Marker réalisa au plus haut de la </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">nouvelle vague </span></span></em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">: </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">Le Joli Mai </span></span></em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">et </span></span><em><span style="font-family: Times New Roman,Times New Roman; font-size: small;"><span style="font-family: Times New Roman,Times New Roman; font-size: small;">La Jetée. </span></span></em>