The Cinema of Raúl Ruiz

The Cinema of Raúl Ruiz: Impossible Cartographies

Michael Goddard
Series: Directors' Cuts
Copyright Date: 2013
Pages: 224
https://www.jstor.org/stable/10.7312/godd16730
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  • Book Info
    The Cinema of Raúl Ruiz
    Book Description:

    Raúl Ruiz, while considered one of the world's most significant filmmakers by several film critics, is yet to be the subject of any thorough engagement with his work in English. This volume sets out on this task by mapping, as fully as possible, Ruiz's cinematic trajectory across more than five decades of prolific work, up to his death in 2011; ranging from his earliest work in Chile to high-budget 'European' costume dramas culminating in Mysteries of Lisbon (2010). It does so by treating Ruiz's work -- with its surrealist, magic realist, popular cultural, and neo-Baroque sources -- as a type of 'impossible' cinematic cartography, mapping real, imaginary, and virtual spaces, and crossing between different cultural contexts, aesthetic strategies, and technical media. It argues that across the different phases of Ruiz's work identified, there are key continuities such as the invention of singular cinematic images and the interrogation of their possible and impossible combinations.

    eISBN: 978-0-231-85050-6
    Subjects: Film Studies

Table of Contents

  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-viii)
  3. ACKNOWLEDGEMENTS
    (pp. ix-x)
  4. INTRODUCTION: A NEW CARTOGRAPHER?
    (pp. 1-8)

    Raúl Ruiz presented something of an enigma in relation to contemporary cinema, seeming at once like an unfashionableauteurfilmmaker out of sync with the more commercially oriented present, while at the same time open to all kinds of projects that cross media (film, writing, video installation) as well as film forms (features, short films, ‘art’ documentaries, filmed theatre and films dealing with folklore). This book will argue that rather than simply being an anachronistic, ‘European’ auteur, Ruiz used this role as a way of conducting research into cinematic images and their combinations that is highly resonant with the emergence...

  5. CHAPTER ONE Ruiz’s Cinema in the 1960s and 1970s
    (pp. 9-60)

    As the introduction to this book already suggested there was a profound transformation of Ruiz’s cinema over the course of the 1970s. In fact, the shift from Raúl Ruiz as a Chilean director associated with the collective social experiment of Allende’s Chile to ‘Raoul Ruiz’ as a European cinematic auteur based in Paris is generally considered the most profound break in Ruiz’s career. While it would be ludicrous to contest the radical nature of this break, it is worth examining in more detail what exactly its effects were on Ruiz’s cinematic practice by examining some of Ruiz’s Chilean films, before...

  6. CHAPTER TWO The Cinema of Piracy, the Sea and Spectral Voyages: Ruiz’s Neo-Baroque Cinema of the 1980s
    (pp. 61-102)

    While it is not possible to identify any discrete break in Ruiz’s work as dramatic as the one that took place in 1973, there is nevertheless the palpable emergence of new tendencies in Ruiz’s cinema from the beginning of the 1980s. Part of this shift is simply that after an eclectic range of projects, mostly commissioned for television in the late 1970s, Ruiz in the 1980s returned fully to cinema, making a series of feature films, in a variety of geographic locations, that have come to be seen as definitive of his cinematic aesthetics. Accompanying this shift was an aesthetic...

  7. CHAPTER THREE Cartographies of Complexity: Ruiz’s ‘French’ Cinema Since the Mid-1990s
    (pp. 103-166)

    This chapter will be focused on one of Ruiz’s most productive periods and one in which, at least between 1996 and 2004, represented by the production of the two filmsThree Lives and Only One DeathandKlimtrespectively, his cinema gained a wider and more international public visibility than ever before. This was achieved through a modification of Ruiz’s aesthetic procedures to such an extent that some critics saw Ruiz’s recent cinema as abandoning its 1980s Surrealism and experimentalism in favour of an adoption of the codes of the French art movie, of becoming a kind of cinema of...

  8. CONCLUSION: Ruizian Cartography from Chile to the Cosmos via the Littoral, or The Film to Come
    (pp. 167-170)

    This book has attempted to follow Ruiz’s complex trajectory from Chile in the context of the New Latin American cinema of the 1960s, via the vicissitudes of exile, to his latest complex modes of cinematic production and other forms of creative work in the new millennium. Rather than providing a linear history, it has sketched a number of successive cartographies of Ruiz’s work, in line with its own concerns with cartography and passage. In the Chilean period of the 1960s and early 1970s this was done primarily in relation to political cartographies of gesture and behaviour that constituted a subversive...

  9. APPENDIX: Raúl Ruiz Interview (Paris, November, 2009)
    (pp. 171-184)
    MG and Raúl Ruiz
  10. SELECT FILMOGRAPHY
    (pp. 185-192)
  11. BIBLIOGRAPHY
    (pp. 193-198)
  12. INDEX
    (pp. 199-206)