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at the beginning of the nineties are still very important for me. I read them and I understand them more and more and it's his vision poetical but mostly political finally that matters more and more to my mind... It's very important I think to read it especially nowadays because he was very visionary
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especially on the narrative theory that is now so important to those TV shows all around the world and he had a very interesting theory about ways of controlling inspiration like the weapon."
244:(2006), he addresses the notions of fascination and detachment with respect to the film-image. In the third volume (published posthumously in Spanish in 2013) he takes on
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said of Ruiz that: "He was more political in an aesthetic way than just a director. For instance, the book he wrote when he was a teacher in
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Filming Vienna 1900: The
Poetics of Cinema and the Politics of Ornament in RaĂșl Ruizâs
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240:'s central conflict theory and makes a case for unique, enigmatic boredom in film. In
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Towards a
Perverse Neo-Baroque Cinematic Aesthetic: RaĂșl Ruizâs Poetics of Cinema
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The
Mystery, as Always: RaĂșl Ruiz, Klimt and the Poetics of Cinema
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236:(1995), Ruiz outlines his rejection of
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339:Poetics of Cinema 2 by RaĂșl Ruiz
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384:. You can help Knowledge by
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220:by Chilean filmmaker
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216:is a book series of
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306:"Poetics of Cinema"
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286:Historical poetics
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425:Categories
315:2012-05-11
292:References
160:Alan Pauls
156:Translator
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222:RaĂșl Ruiz
184:Publisher
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280:See also
228:Overview
166:Language
273:Harvard
169:Spanish
136:Author
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353:Klimt
205:Chile
174:Genre
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382:stub
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124:2006
67:1995
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
