This article aims to investigate Chris Marker as a poet and essayist; especially taking into account his poetry and system of writing. The work will focus on the cinematographic and literary analysis of Dimanche à Pekin (1956) and Sans Soleil (1983). The literary analysis, moreover, will be interpreted as it appears in his travelogues in Coreénnes and Le coeur net. We will approach not only the perspective of montage theory applied to classic theories on orientalism, but also the forms of representation taking poetry as the starting point for this film. Lastly, we will show how the theoretical assumption Marker operates under relies on pre-existing theories on poetic signs and the role of ideograms in poetry. That is why our underlying hypothesis is that Chris Marker’s work is under the influence, in montage and image treatment, of traditional ideogrammatic writing.