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The Cinema of Raúl RuizImpossible Cartographies$
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Michael Goddard

Print publication date: 2013

Print ISBN-13: 9780231167314

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231167314.001.0001

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Cartographies of Complexity

Cartographies of Complexity

Ruiz’s ‘French’ Cinema Since the Mid-1990s

(p.103) Chapter Three Cartographies of Complexity
The Cinema of Raúl Ruiz

Michael Goddard

Columbia University Press

This chapter focuses on Raúl Ruiz's cinema from the mid-1990s to his most recent films prior to his death. In this period, Ruiz's cinema presented cartographies of complexity which are no less subversive than their predecessors of the 1970s and 1980s despite more conventional appearances. The period is represented by the production of the films, Three Lives and Only One Death (1996), which features Pierre Bellemare, a French radio personality famous for his colourful recounting of anomalous and mysterious tales taken from both history and everyday life, and Klimt (2005), which is about the life of Viennese artist Gustav Klimt. In these films, cartography no longer refers primarily to gestures, styles, or places, but to different forms of multiplicity, whether in terms of subjective identity, narrative elements, nationality, or cinematic images themselves.

Keywords:   complex cartographies, Pierre Bellemare, Klimt, Gustav Klimt, cartography, subjective identity, narrative elements, nationality, cinematic images

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