Raoul Ruiz et les voix des exilés
A filmmaker who had to leave his native Chile, Ruiz never ceased to give voice to exiles of all kinds, political at first (Dialogues of exiles, 1974), considered from an anthropological perspective (the Amerindians in On Top of the Whale, 1982), or simply foreign residents in one of the European wor...
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| Format: | Article |
| Language: | English |
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Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel
2024-09-01
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| Series: | Mise au Point |
| Online Access: | https://journals.openedition.org/map/7197 |
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| Summary: | A filmmaker who had to leave his native Chile, Ruiz never ceased to give voice to exiles of all kinds, political at first (Dialogues of exiles, 1974), considered from an anthropological perspective (the Amerindians in On Top of the Whale, 1982), or simply foreign residents in one of the European world cities, in this case Paris (Three lives and only one death, 1996). To this minority voice, Ruiz gives each film a different place, between social integration strategy, cultural preservation and distortion of the majority language. These strategies are embodied in three relationships to language: Spanish that must be abandoned if one wants to integrate (Dialogues of exiles), the native language indecipherable, which preserves cultural identity (On Top of the Whale), and the accents and outbursts of the native language that make French stutter (Three lives and only one death). |
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| ISSN: | 2261-9623 |