Meditations on cinema and method from the acclaimed Chilean director of City of Pirates and Life Is a Dream 
This volume gathers excerpts from the diary of celebrated Chilean experimental film director Raul Ruiz. A continuation of Poetics of Cinema 1 and Poetics of Cinema 2―his seminal volumes on new narrative modes―Notes, Recollections and Sequences of Things Seen follows the late stage of Ruiz’s career, from 1990 to 2011, in which he realized more ambitious productions. These new films generated significant economic and aesthetic challenges, and he observed the increasing distance between his dream of a handmade, nonindustrial, shamanic-inspired cinema―as set out in the Poetics of Cinema―and his reality. 
Selected by Bruno Cueno and Erik Bullot, friends of Ruiz, the writings also express the filmmaker’s pragmatic side, such as his prescriptions for implementing the theoretical concepts outlined in Poetics. A preface by Bullot and notes by Cuneo contextualize the excerpts. 
Raul Ruiz (1941–2011) was an experimental Chilean filmmaker, writer and teacher who directed more than 100 films, including Dark at Noon (1992) starring John Hurt, Three Lives and Only One Death (1996) starring Marcello Mastroianni, Genealogies of a Crime (1997) starring Catherine Deneuve and Time Regained (1999) starring John Malkovich.

Notes, Recollections and Sequences of Things Seen: Excerpts from an Intimate Diary (Cinema-fictions)

Arts & Photography

Ruiz, Raul

Individual Artists

Dis Voir

Chilean filmmaker Raoul Ruiz is the author of some 100 feature-length films, along with numerous plays and multi-media installations. In Poetics of Cinema, Ruiz takes a fresh approach to the major themes haunting our audio-visual civilization: the filmic unconscious, questions of utopia, the inter-contamination of images, the art of the copy, the relations between artistic practices and institutions. Based on a series of lectures given recently at Duke University in North Carolina, Poetics of Cinema develops an acerbically witty critique of the reigning codes of cinematographic narration, principally derived from the dramatic theories set forth by Aristotle's Poetics and characterized by Ruiz as the “central-conflict theory.” Ruiz's impressive knowledge of theology, philosophy, literature and the visual arts never outstrips his powerful imagination. Poetics of Cinema not only offers a singularly pertinent analysis of the seventh art, but also shows us an entirely new way of writing and thinking about images.

Poetics Of Cinema

Humor & Entertainment

Movies

"Eleven years separate these lines from the first part of my Poetics of Cinema. Meanwhile the world has changed and cinema with it. Poetics of Cinema, 1 had much of a call to arms about it. What I write today is rather more of a consolatio philosophica. However, let no one be mistaken about this, a healthy pessimism may be better than a suicidal optimism." Following his research in Poetics of Cinema, 1 on new narrative models as tools for apprehending a fast-shifting world, Ruiz makes an appeal for an entirely new way of filming, writing and conceiving the image. 'Light, more light,' were Goethe's last words as he died. 'Less light, less light,' Orson Welles cried repeatedly on a set--the one and only time I saw him. In today's cinema (and in today's world) there is too much light. It is time to return to the shadows. So, about turn! And back to the caverns!"

Poetics of Cinema 2

Behind each children's book, behind each bestseller, a sacred text is hidden. Stevenson's novel has been scrutinized, read and re-read a thousand times. It has been used as a model for a map that leads us in search of an island where a cave that represented the sky was located. And in that sky, the stars and planets were represented by diamonds, real diamonds... Both a prelude and a continuation to Raoul Ruiz's film, Treasure Island, made in 1984, In Pursuit of Treasure Island presents itself as the follow-up, or rather a pursuit, of Stevenson's novel. It is a formidable example of the way Ruiz parodies the text and plunges the story inside the story before losing the reader in a labyrinth of strange images.

In Pursuit of Treasure Island: By Raul Ruiz

Teen & Young Adult

Throughout the 1970s, filmmaker Raúl Ruiz presented his wife, fellow director Valeria Sarmiento, with a daily story as a celebration of their partnership A previously unpublished story by filmmaker Raul Ruiz (1941-2011) that was found in a trunk by his wife Valeria Sarmiento, A Nine Year-Old Aviator was written in Paris when Ruiz had just fled Chile. This tale is one of a series of stories written in the 1970s for Sarmiento. As they were both living in exile and he did not have work while his wife was childminding to provide for them both, every day Ruiz would present her with a different story to read to the child she was looking after. This story is illustrated by Camila Mora-Scheihing, to whom this tale was read as a child.

A Nine-Year-Old Aviator

Literature & Fiction

Genre Fiction

This richly illustrated catalogue of the international festival of artists' films highlights three major artists and filmmakers: Michel Auder of France, Stan Brakhage of the United States and Raul Ruiz of Chile. It also offers a panorama of recent works from young and established artists, and a celebration of the Biennial's twentieth anniversary.

11th Biennial of Moving Images

Collections, Catalogs & Exhibitions

JRP|Ringier

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