{"id":5213,"date":"2011-08-24T20:57:44","date_gmt":"2011-08-25T01:57:44","guid":{"rendered":"http:\/\/blog.uvm.edu\/aivakhiv\/?p=5213"},"modified":"2021-06-10T10:05:05","modified_gmt":"2021-06-10T15:05:05","slug":"ruiz-goes-home","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/aivakhiv\/2011\/08\/24\/ruiz-goes-home\/","title":{"rendered":"Ruiz goes home&#8230;"},"content":{"rendered":"<p>&nbsp;<\/p>\n<p style=\"padding-left: 30px\">At bottom I am speaking of nothing other than a cinema capable of inventing a new grammar each time it goes from one world to the next, capable of producing a unique emotion before every thing, every animal, every plant, simply by modifying the parameters of space and time. But this implies a constant practice of both attention and detachment, an ability to enter into the act of filming and return an instant afterward to passive contemplation. In short, a cinema capable of accounting, above all, for the varieties of experience in the sensible world. Easily said\u2026.<\/p>\n<p style=\"padding-left: 90px\">&#8212; Ra\u00fal Ruiz,<em> Poetics of Cinema<\/em> (\u00c9ditions Dis Voir, 2005), pp. 89-90<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/BvTjQ0Pww0g?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>&nbsp;<\/p>\n<p>I just caught up with the news that Ra\u00fal Ruiz died this past week.<\/p>\n<p><!--more-->See <a href=\"http:\/\/filmstudiesforfree.blogspot.com\/2011\/08\/rip-raul-ruiz-links-in-memory-of.html\">Catherine Grant<\/a>&#8216;s nice collection of links, <a href=\"http:\/\/girishshambu.blogspot.com\/2011\/08\/ghost-at-noon-by-adrian-martin.html\">Adrian Martin<\/a>&#8216;s and <a href=\"http:\/\/www.jonathanrosenbaum.com\/?p=22416\">Jonathan Rosenbaum<\/a>&#8216;s tributes, the MUBI Daily&#8217;s <a href=\"http:\/\/mubi.com\/notebook\/posts\/raul-ruiz-1941-2011\">profile<\/a>, and A. O. Scott&#8217;s recent <em>New York Times<\/em> <a href=\"http:\/\/www.nytimes.com\/2011\/07\/31\/magazine\/raoul-ruiz-a-mild-mannered-maniac.html?_r=1&amp;ref=movies\">piece<\/a> on him. <em>Three Crowns of a Sailor<\/em>, which you can watch <a href=\"http:\/\/mubi.com\/notebook\/posts\/raul-ruizs-three-crowns-of-a-sailor-1983\">here<\/a>, dazzled me years ago; it&#8217;s somewhere in Guy-Maddin-meets-Borges territory. Another favorite was <em>The Territory<\/em>.<\/p>\n<p>Another favorite quote:<\/p>\n<p style=\"padding-left: 30px\">Evocation, invocation: the two functions of the moving image can be complementary. On one hand, mechanical evocation of events that have already taken place or that will take place, that belong to other worlds even if these other worlds themselves are films, gods already dead or waiting to be born. On the other, invocation of eternal events (<em>cf.<\/em> Whitehead): perpetual recreation in a state of constant regeneration or decay. In this commerce with the beyond, the film invites us on a voyage along a subterranean river; from our boat we glimpse figures bodied forth from the other world, deformed figures that would be invisible without the darkness. Illuminated figures whose epiphany dwells in the shadows, in shadowy forms whose origin is in forms darker still; shadows bearing the seeds of all form.<\/p>\n<p style=\"padding-left: 30px\">By voicing these two modern ideas, I seek not so much to lend prestige to our trade as to revive a debate which dates back to the early days of cinema and remains unresolved: to fabricate an image, should one begin with a backdrop plunged into darkness, or with one so brightly illuminated that all the shadows have been chased away?<\/p>\n<p style=\"padding-left: 90px\">&#8212; <em>Poetics of Cinema, <\/em>p. 114<\/p>\n<p>It&#8217;s a rare filmmaker who can theorize his work as well as Ruiz did (under the rubric of a &#8220;shamanic cinema,&#8221; no less) and even quote Whitehead to support it. (Good choice of philosopher.)<\/p>\n<p>And then there&#8217;s <a href=\"http:\/\/www.donalforeman.com\/blog\/?p=813\">this blog post<\/a> from over a year ago, which, when I read the title, I was sure said &#8220;Dead artist, #10.&#8221; And I thought &#8220;why #10?&#8221;<\/p>\n<p>May he live on.<\/p>\n<p><a href=\"http:\/\/mubi.com\/cast_members\/2219\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2011\/08\/raoul-ruiz.jpg?resize=163%2C195\" alt=\"\" width=\"163\" height=\"195\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; At bottom I am speaking of nothing other than a cinema capable of inventing a new grammar each time it goes from one world to the next, capable of producing a unique emotion before every thing, every animal, every plant, simply by modifying the parameters of space and time. But this implies a constant [&hellip;]<\/p>\n","protected":false},"author":99,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[688745],"tags":[25063,352],"class_list":["post-5213","post","type-post","status-publish","format-standard","hentry","category-cinema_zone","tag-exile","tag-film"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4IC4a-1m5","jetpack-related-posts":[{"id":10506,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2020\/04\/09\/the-state-of-things\/","url_meta":{"origin":5213,"position":0},"title":"The state of things","author":"Adrian J Ivakhiv","date":"April 9, 2020","format":false,"excerpt":"I have many friends who are despairing that, with Bernie Sanders's exit from the presidential race, the United States has lost a once-in-a-lifetime opportunity to elect a leader who is honest, reliable, and completely untethered to the vested interests that keep our whole system careening towards catastrophe (climate change, ecological\u2026","rel":"","context":"In &quot;Manifestos &amp; auguries&quot;","block_context":{"text":"Manifestos &amp; auguries","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/manifestos-and-auguries\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2020\/04\/State-2.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2020\/04\/State-2.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2020\/04\/State-2.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2020\/04\/State-2.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":8182,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2015\/04\/02\/post-cinema-cultures-of-energy\/","url_meta":{"origin":5213,"position":1},"title":"Post-Cinema, Cultures of Energy","author":"Adrian J Ivakhiv","date":"April 2, 2015","format":false,"excerpt":"Those who missed\u00a0the panel on \"Post-Cinema and\/as Speculative Media Theory\" at last week's\u00a0Society for Cinema and Media Studies conference in Montreal will be able to view the videos of the talks at medieninitiative. Steven Shaviro, Patricia Pisters, Mark Hansen and I entertained a standing-room only crowd (see\u00a0the audience\u00a0spilling out into\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8714,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2016\/04\/11\/post-cinema\/","url_meta":{"origin":5213,"position":2},"title":"Post-Cinema","author":"Adrian J Ivakhiv","date":"April 11, 2016","format":false,"excerpt":"At long last, Shane Denson's and Julia Leyda's anthology Post-Cinema: Theorizing 21st-Century Film has come out in Catherine Grant's Reframe Books\u00a0open-access series. This mammoth\u00a0anthology features some of the leading theorists of our cinematic\/media moment including Lev Manovich, Steven Shaviro, Richard Grusin, Vivian Sobchack, Francesco Casetti, Patricia Pisters, Mark Hansen, and\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"Post_cinema_cover_NEW","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2016\/04\/Post_cinema_cover_NEW-194x275.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":8235,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2015\/05\/05\/speculative-ecologies-of-postcinema-talk\/","url_meta":{"origin":5213,"position":3},"title":"&#8220;Speculative Ecologies of (Post)Cinema&#8221; talk","author":"Adrian J Ivakhiv","date":"May 5, 2015","format":false,"excerpt":"The video of my talk on \"Speculative Ecologies of (Post)Cinema: Cinema In and Beyond the Capitalocene,\" is now\u00a0up on Vimeo and at Shane Denson's web site. It is\u00a0from the SCMS panel \"Post-Cinema and\/as Speculative Media Theory,\" featuring Steven Shaviro,\u00a0Patricia Pisters, and Mark Hansen. I discuss the archive, the cloud, the\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":3803,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2011\/04\/30\/vitale-on-deleuzes-cinema-books\/","url_meta":{"origin":5213,"position":4},"title":"Vitale on Deleuze&#8217;s Cinema books","author":"Adrian J Ivakhiv","date":"April 30, 2011","format":false,"excerpt":"Chris Vitale at Networkologies has a great series going on Gilles Deleuze's Cinema books. It's rich with insights and video clips. It starts here and continues for several lengthy posts. Or scroll down the right here to the \"Mini-Essays\" links on \"Reading Deleuze's Cinema Books.\"","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":5470,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2012\/02\/17\/toward-an-ecophilosophical-cinema\/","url_meta":{"origin":5213,"position":5},"title":"Toward an ecophilosophical cinema","author":"Adrian J Ivakhiv","date":"February 17, 2012","format":false,"excerpt":"My paper for this year's Society for Cinema and Media Studies conference, coming up next month in Boston, will focus on the two films that got a lot of side-by-side attention at last year's Cannes festival, Lars von Trier's Melancholia and Terrence Malick's The Tree of Life. Since a few\u2026","rel":"","context":"In &quot;Cinema&quot;","block_context":{"text":"Cinema","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/cinema_zone\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2012\/02\/39-275x116.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/5213","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/comments?post=5213"}],"version-history":[{"count":10,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/5213\/revisions"}],"predecessor-version":[{"id":11889,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/5213\/revisions\/11889"}],"wp:attachment":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/media?parent=5213"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/categories?post=5213"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/tags?post=5213"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}