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The film examines traditional African art such as sculptures and masks, and its decline with coming of Western colonialism.
The film won the 1954 Prix Jean Vigo, but was banned by French censors for its criticism of French colonialism.
It combines footage that Marker shot in Siberia with old newsreel footage, cartoon sequences, stills, and even an illustration of Alfred E.
Neuman from Mad Magazine as well as a fake TV commercial as part of a humorous attack on Western mass culture.
I have since concluded that Belleville is correct – but that does not spoil the spiritual truth of Ulan Bator." Marker was a philosophy student in France prior to World War II.
Around this time Marker met and befriended many members of what would be called the Left Bank Film Movement, including Alain Resnais, Agnès Varda, Henri Colpi, Armand Gatti and the novelists Marguerite Duras and Jean Cayrol.
This group is often associated with the French New Wave directors who came to prominence during the same time period, and indeed both groups were often friends and journalistic co-workers.
In the film, Marker's commentary overlaps scenes from China, such as tombs which, contrary to Westernized understandings of Chinese legends, do not contain the remains of any Ming Dynasty emperors.
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.
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At Esprit, Marker wrote political commentaries, poems, short stories, and (with Bazin) film reviews.