<abstract xmlns="http://www.w3.org/1999/xhtml"><p>The article discusses Raul Ruiz’s film <italic>The Hypothesis of the Stolen Painting</italic> (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of <italic>mise-en-abyme</italic> images that explore the multiple universe of <italic>tableaux vivants.</italic> The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of <italic>simulacra</italic>. The structure of <italic>The Hypothesis of the Stolen Painting</italic> is based upon the infinite reproduction of meaning since each <italic>simulacrum</italic>-<italic>tableau vivant</italic> leads to another. The author explores the gesturality of the bodies and its relevance to the use of language and sound in the film. Furthermore, he argues that Ruiz orchestrates the placement of the <italic>tableaux vivants</italic> in the filmic space in order to reveal the thought of eternal return.</p></abstract>

The article discusses Raul Ruiz’s film The Hypothesis of the Stolen Painting (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of mise-en-abyme images that explore the multiple universe of tableaux vivants. The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of simulacra. The structure of The Hypothesis of the Stolen Painting is based upon the infinite reproduction of meaning since each simulacrum-tableau vivant leads to another. The author explores the gesturality of the bodies and its relevance to the use of language and sound in the film. Furthermore, he argues that Ruiz orchestrates the placement of the tableaux vivants in the filmic space in order to reveal the thought of eternal return.

Images in Suspension: <italic>Tableaux Vivants</italic>, Gesturality and Simulacra in Raul Ruiz’s film <italic>The Hypothesis of the Stolen Painting</italic>

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Images in Suspension: , Gesturality and Simulacra in Raul Ruiz’s film 

The article discusses Raul Ruiz’s film The Hypothesis of the Stolen Painting (1978). In the closed space of the house a parallel world emerges, where the...

Images in Suspension: Tableaux Vivants, Gesturality and Simulacra in Raul Ruiz’s film The Hypothesis of the Stolen Painting

Data publikacji: 03 kwi 2021

Zakres stron: 77 - 98

DOI: https://doi.org/10.2478/ausfm-2021-0006

Słowa kluczowe
simulacrum, gesture, Pierre Klossowski, vicious circle

© 2021 Ioannis Paraskevopoulos, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Images in Suspension: Tableaux Vivants, Gesturality and Simulacra in Raul Ruiz’s film The Hypothesis of the Stolen Painting

Data publikacji: 03 kwi 2021

Zakres stron: 77 - 98

DOI: https://doi.org/10.2478/ausfm-2021-0006

Słowa kluczowesimulacrum, gesture, Pierre Klossowski, vicious circle

© 2021 Ioannis Paraskevopoulos, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Słowa kluczowe
simulacrum, gesture, Pierre Klossowski, vicious circle