By Raul Ruiz
11 years separate those strains from the 1st a part of my Poetics of Cinema. in the meantime the area has replaced and cinema with it. Poetics of Cinema, 1 had a lot of a choice to fingers approximately it. What I write at the present time is quite extra of a consolatio philosophica. in spite of the fact that, enable not anyone be unsuitable approximately this, a fit pessimism could be higher than a suicidal optimism." Following his study in Poetics of Cinema, 1 on new narrative versions as instruments for apprehending a fast-shifting international, Ruiz makes an allure for a wholly new method of filming, writing and conceiving the picture. "'Light, extra mild, ' have been Goethe's final phrases as he died. 'Less mild, much less gentle, ' Orson Welles cried time and again on a set--the one and in basic terms time I observed him. In today's cinema (and in today's global) there's an excessive amount of mild. it's time to go back to the shadows. So, approximately flip! And again to the caverns!
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Extra resources for Poetics of Cinema, 2
As can be seen, by writing about vicinities and resona nces, I have wanted, above all, to speculate about that 'active aura' that surrounds a film as we watch it. A stimulating exercise if we continue believing that the film we are . . vlewmg IS unzque. E. M. Foster, quoted by Mario Praz in his Mnemosyne, says: "A wor k of art is a 'unique product'. But why? Not for the fact that it might be ingenious, noble, beautiful, enlightened, original, sincere, idealistic, useful or instructive: any of these qualities may be present in it, but the work of art can be distinguished above all for being the only material object in the universe capable of possessing internal harmony.
That is to say, it presents itself on the palate again, hours after it has been chewed. There is something analogous in the idea of re-presenting a character.
Alone before the camera, he closes his eyes and asks his daemon to summon him. - "Macarena, call me," he says in a high voice, shutting his eyes. And Macarena calls him. She whispers into his ear: - "That woman you see before you does not love you. She is hurting you with the dagger of indifference. And you who were overjoyed upon seeing her! Here she is, the woman that kills you . Here, your Lola Daggers! But what do you care! The stabbing will be 'y our delight! A balm for your lovesickness. Ask her to hurt you, demand that she kill you!