Read Ebook {PDF EPUB} The Book of Disappearances & the Book of Tractations by Raúl Ruiz Raúl Ruiz (director) The son of a ship's captain and a schoolteacher in southern Chile, Raúl Ruiz abandoned his university studies in theology and law to write 100 plays with the support of a Rockefeller Foundation grant. He went on to learn his craft working in Chilean and Mexican television [2] and studying at film school in Argentina (1964). Back in Chile, he made his feature debut (1968), sharing the Golden Leopard at the 1969 Locarno Film Festival. According to Ruiz in a 1991 interview, Three Sad Tigers "is a film without a story, it is the reverse of a story. Somebody kills somebody. All the elements of a story are there but they are used like a landscape, and the landscape is used like story." [3] He was something of an outsider among the politically oriented Chilean filmmakers of his generation such as Miguel Littín and Patricio Guzmán, his work being far more ironic, surrealistic and experimental. In 1973, shortly after the military coup d'état led by the dictator Augusto Pinochet, Ruiz and his wife (fellow director ) fled Chile and settled in Paris, France. [4] Ruiz soon developed a reputation among European critics and cinephiles as an avant-garde film magician, writing and directing a remarkable number of amusingly eccentric though highly literary and complex low-to-no-budget films in the 1970s and 1980s (often for France's Institut national de l'audiovisuel and then for Portuguese producer ). The best known of these are: Colloque de chiens (1977), a short which marked the start of Ruiz's long-term working relationship with Chilean composer ; The Suspended Vocation (1978); The Hypothesis of the Stolen Painting (1979); (1982); Three Crowns of the Sailor (1983); (1983); Manoel's Destinies (1985); Treasure Island (1985) and Life is a Dream (1986). [5] A special issue of Cahiers du cinéma was devoted to Ruiz in March 1983. [6] In the 1990s, Ruiz began working with larger budgets and "name" stars like John Hurt in Dark at Noon (1992) and Marcello Mastroianni in Three Lives and Only One Death (1996). The following year, he made starring , winning the Silver Bear at the 47th Berlin International Film Festival. [7] A second major French actress, , worked with Ruiz on (2000), which was nominated for the Golden Lion at the Venice Film Festival. The American acted in the star-studded Marcel Proust adaptation Time Regained (1999) and the somewhat less successful Savage Souls (2001) and Klimt (2006). That Day (2003) was the fourth and last Ruiz film to be shown in the main competition of the Cannes Film festival. [8] He also made forays into the English-language mainstream with the thrillers (1998) and A Closed Book (2010). In the final decade of his life, Ruiz wrote and directed several low-budget productions in his native Chile, but his final international success was the Franco-Portuguese epic (2010). Ruiz claimed that he was "always trying to make this connection between different ways of producing: film, theater, installations, and videos" - he hoped his "films would have to be seen many times, like objects in the house, like a painting. They have to have a minimum of complexity." [3] Over the years, he taught his own particular brand of film theory, which he explained in his two books Poetics of Cinema 1: Miscellanies (1995) and Poetics of Cinema 2 (2007), and actively engaged in film and video projects with university and film school students in many countries, including the US, France, Colombia, Chile, Italy and Scotland. [9] Ruiz died in August 2011 as a result of complications from a lung infection, having successfully undergone a liver transplant in early 2010 after being diagnosed with a life-threatening tumour. The Presidents of France and Chile both praised him. [10] [11] The Church of Saint George-Paul in Paris held a memorial service which was attended by many notable friends, including Catherine Deneuve, , , Paulo Branco, Arielle Dombasle, and Jorge Edwards. Ruiz's body was then returned to Chile to be buried as specified in his will and a National Day of Mourning was declared in Chile. [12] Ruiz's final completed feature (2012) was selected to be screened posthumously in the Directors' Fortnight section of the 2012 Cannes Film Festival. [13] [14] His widow Valeria Sarmiento, who was also his collaborator and frequent editor for several decades, completed (2012), the Napoleonic epic that Ruiz was preparing when he died [15] [16] and the film was in competition for the Golden Lion at the 69th Venice International Film Festival [17] and as a Zabaltegi Special at the 2012 San Sebastián International Film Festival. [18] Both films were also shown at the 2012 Toronto International Film Festival [19] and the 2012 New York Film Festival. [20] Raul Ruiz - The Book Of Disappearance The Book Of (7626265043) Zakończona o 8:43 dnia 11.12.2018 r. Parametry. oferta nr 7626265043. Księgarnia anglojęzyczna poleca książkę: Raul Ruiz - The Book Of Disappearance The Book Of The Tractions (Raul Ruiz) Tytuł: Raul Ruiz - The Book Of Disappearance The Book Of The Tractions Autor: Raul Ruiz Wydawca: Dis Voir Data wydania: 2005-01-01 Oprawa: Paperback ISBN: 9782914563192 Ilość stron: 96 Wymiary: 21.59 x 16.51 x 0.64 cm Waga: 258.55g. What could a Moor and a Christian living in the seventeenth century possibly have to write to each other about The answer to that question is found in The Book of Disappearances The Book of the Tractations--an extravagant and playful book-object based on a correspondance that miraculously survived fire and destruction via rodent. These letters are the living testimonial to secret deals and passionate debate between the two communities. By following the thread of vowels and consonants printed in bold type and strung and hidden throughout the main text readers can retrace the story of a captive girl from Marrakech whose story echoes that of the prostitute who incarned Spain in Velasquezs scandal-stirring painting The Allegory of the Expulsion of the Moors. This delicate wonderous and precious book is a real adventure for the reader who attempts to differentiate between the puzzles daring fiction and reality. Raul Ruiz Biography (1941-) Born July 25, 1941, in Puerto Montt, Chile; naturalized French citizen, 1996;father, a ship's captain; married Valeria Sarmiento (a filmmaker and editor). Nationality French Gender Male Occupation Director, producer, writer, editor, production designer, actor Birth Details July 25, 1941 Puerto Montt, Chile. Famous Works. CREDITS Film Director , 1960 Le retour, 1964 , 1967 Tres tristes tigres (also known as Three Sad Tigers and Three Trapped Tigers ), 1968 Militarismo y tortura, 1969 La catanaria, 1969 Que hacer? (also known as What Is to Be Done? ), 1970 La colonia penal (also known as The Penal Colony ), 1970 Ahora te vamos a llamar hermano, 1971 La teoria y la practica, 1972 Poesia popular, 1972 Los minuteros, 1972 La expropriacion (also known as The Exproporation ), 1972 El realismo socialista (also known as Socialist Realism ), 1973 Palomita brava, 1973 Palomita blanca (also known as White Dove ), 1973 Abastecimiento (also known as Supply ), 1973 Dialogo de exilados (also known as Dialogue of Exiles and Dialogue d'exiles ), 1974 Sotelo, 1976 La vocation suspendue (also known as The Suspended Vocation ), 1977 Colloque de chiens (also known as Dog's Dialogue ), 1977 L'hypothese du tableau vole (also known as The Hypothesis of the Stolen Painting ), 1978 Les divisions de la nature, 1978 Jeux, 1979 Images de debat, 1979 La ville nouvelle, 1980 Teletests, 1980 Musee Dali, 1980 Fahlstrom, 1980 Le borgne, 1980 (also known as Le territoire and O territorio ), 1981 Images de sable, 1981 Las tres coronas del marinero (also known as Three Crowns of the Sailor and Les trois couronnes du matelot ), 1982 Querelle des jardins (also known as Gardens Quarrels and War of the Gardens ), 1982 Le petit theatre, 1982 Ombres chinoises, 1982 Het dak van de walvis (also known as On Top of the Whale and Le toit de la baleine ), International Film Circuit, 1982 La ville des pirates (also known as City of Pirates, A cidade dos piratas, and Ville des pirates ), 1983 La ville de Paris, 1983 Point de fuite (also known as Vanishing Point and Pontode fuga ), 1983 Berenice, 1984 L'eveille du pont de l'Alma, 1985 Treasure Island (also known as L'ile au tresor ), 1985 La presence reelle (also known as The Real Presence ), 1985 Les destins de Manoel, 1985 Richard III, 1986 (And editor) Memoire des apparences (also known as Life Is a Dream, Memory of Appearances, La vida es sueo, and La vieest un songe ), International Film Circuit, 1986 Dans un miroir, 1986 Regime sans pain, 1986 (And production designer) , 1986 Le professeur Taranne, 1987 La chouette aveugle (also known as The Blind Owl ), 1987 "Histoires de glace," Brise-glace, 1987 Tous les nuages sont des horloges (also known as All the CloudsAre Clocks ), 1988 Allegoria, 1988 Il pozzo dei pazzi, 1989. Dennis Grunes. Image: Still from L'eclisse. 1962. Director and writer Michelangelo Antonioni. THREE CROWNS OF THE SAILOR (Râúl Ruiz, 1983) Les trois couronnes du matelot begins in some port town with a murder and a theft. The fair killer-student steals three Danish crowns. A dark, middle-aged sailor waylays the younger man and, over drinks at an opulent nightclub, like Coleridge’s Ancient Mariner unloads a tale of woe. Upshot: he needs three Danish crowns. (In one shot, the hoped-for coins have replaced eyes and mouth.) The sailor perpetually finds himself indebted. Râúl Ruiz, an Allende supporter who fled his native Chile because of the 1973 military coup, based this long, serpentine French film on a Chilean legend. Ruiz Chinese-boxes his storytelling: inside his story to the student, the sailor recounts encounters of his where others told him their stories. At the last, however, comes a delightful shock: the outermost story is not whose we thought it was! On the other hand, the “ship of the dead” where we discover this suggests the depth to which Ruiz is haunted by his country’s recent political history. The flashbacking sailor recounts traveling from one port to another. Every curious bit includes a funny component and a sad one. Someone he meets has rented a mother because “everyone needs a mother.” No mere lark, this, given the political disappearances in Chile under Pinochet. A woman promises to render the sailor’s desires “transcendent.” He wants to see her naked. Woman: “Tangible nudity is the skin that clothes the being .” Sailor: “I want to make love.” Woman: “Love cannot be made. It is .” She strips seemingly completely, but then takes off even more, leaving her mouth her one orifice. The sailor finds his memory of this creature reflected in shipboard comrades, his own image in the mirror, his dreams. “Transcendence,” it seems, requires the death that the sailor dreads. Ruiz draws upon Orson Welles (especially The Trial , 1962, and The Immortal Story , 1968), and makes a recurrent feature of his mise-en-scène something huge at the forefront of a shot—for instance, someone’s head, hand or foot—in contrast to the seemingly small figures and things in the background. There is a lot of dream-stuff, like this, throughout the film, but it isn’t necessarily pleasant dream-stuff. Such optical distortions of the human body suggest torture—and therefore, again, Pinochet’s Chile. B(U)Y THE BOOK. MY BOOK, A Short Chronology of World Cinema , IS CURRENTLY AVAILABLE FROM THE SANDS FILMS CINEMA CLUB IN LONDON. USING EITHER OF THE LINKS BELOW, ACCESS THE ADVERTISEMENT FOR THIS BOOK, FROM WHICH YOU CAN ORDER ONE OR MORE COPIES OF IT. THANKS. 3:AM Magazine. A special event: On Sunday, November 16th at 2.p.m. at the Renoir Cinema, in London, Raul Ruiz will present In Pursuit of Treasure Island and talk about his ideas on narration as expressed in his writings and films. The talk will follow a rare screening of Treasure Island (1985). All four of Raul’s books published by Dis Voir in English will be available. In Pursuit of Treasure Island (2008) £16 Poetics in Cinema Vol 1 (2nd ed) (2005) £14 Poetics in Cinema Vol 2 (2007) £14.95 The Book of Disappearances (2005) £17.50. ‘Ruiz’s approach to the adaptation of Stevenson’s classic novel is far from conventional. “The way Stevenson tells the story is so remarkable that it could be about anything – pirates, kidnappers, whatever. We are surrounded by stories that are like houses that we can enter. We play amidst these stories, sometimes being involved in two or three of them at once.” The film thus transforms Stevenson’s novel into a gigantic conspiracy, a “house of fiction” that pre-exists those who enter into it. Ruiz describes the film as being about the games of “simulacra” and the “playing of roles”, remarking “Treasure Island is something of a synopsis, a trailer, or a ‘user’s manual’ for my entire cinema.” (Adrian Martin)’ See also: In Pursuit of Treasure Island by Raul Ruiz (Dis Voir, 2008) (translated by Paul Buck & Catherine Petit). Written in French and initially published in 1989, this first edition in English coincides with its French reissue. “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 led 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 Raul Ruiz’s film, Treasure Island , this text presents itself as the follow up, or rather, a pursuit of Stevenson’s novel. An 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.