- DANNY PHANTOM COMPLETE SERIES DVD TABLE OF CONTENT MOVIE
- DANNY PHANTOM COMPLETE SERIES DVD TABLE OF CONTENT TV
In these unmoored films, nearly parodies of genre archetypes, significance is only a matter of mood: a primal logic of rhythm, suspense, doublings, and furtive, inscrutable glances in the seeds of unsprung, phantom narratives. The approach can seem a rebuke to more withholding detective stories, films like Ministry of Fear or Phantom Lady that a decade ago directors from Lynch to Kubrick seemed to be skewing from anything but their own formal logic: the fun of the story in the detecting, in a splay of free-floating clues meaningful only for their inexplicability, as much as in the unavoidable explanation that ties them together at the origin. Nothing is done without explanation, tutorials. In contemporary, rationalist fantasies of Nolan, Cameron, et al., theory always seems to precede action an invented science and arbitrary logic must account for every gesture on-screen.
Intriguingly, Ruiz has declared that Spinoza-theorist of the encounter and its decisive mood-changes-is the philosopher most pertinent to the exploration (practical and theoretical) of cinema.
DANNY PHANTOM COMPLETE SERIES DVD TABLE OF CONTENT MOVIE
Klimt’s first glimpse of this woman who will come to mean so much in his mind and his art is not even ‘in the flesh ’ it is on a movie screen, in one of the first projections by George Méliès! No longer the typical, driven femme fatale with a hidden agenda, this female figure is all at once a metaphysical phantom, a personalised fantasy and a con-game conjured by others. In Raúl Ruiz’s Klimt, the encounter of the artist (John Malkovich as Gustav Klimt) with his Muse (Saffron Burrows as Lea de Castro) is something that seems to happen multiple times, but then again never truly seems to happen at all: the woman is always an apparition, a shadow, a silhouette she is also literally a multiple being, distributed over several bodies, and a sinister behind-the-scenes figure boasts of ‘collecting,’ and carefully depositing, in pre-staged scenes, all the available versions of her. For if Ruiz never made distinctions between truth and fiction, fantasy and reality, characters from art and characters from history: why would he make them between a remote control and a telephone? - Quintínįrom the films of the 1950s (such as those by Mankiewicz and Preminger) to today (Pedro Costa, Lisandro Alonso), we witness an intriguing hollowing-out of the special event of encounter between two people on screen. And we might also see that distrust Ruiz always harbored for anything with the pretense of authenticity. First of all, the use of whatever's closest at hand so not to lose time on production hassles (and so one actor is exchanged for another, one script for another, one country for another, and in this case, the small detail of one prop for another, however absurd the switch).īut there's also the Ruizian humor: unusual, unexpected, irreverent, even incomprehensible. It's one of those scenes that seem to have been dreamt by the viewer, but turn out to be revealing of different aspects of Ruiz as filmmaker.
DANNY PHANTOM COMPLETE SERIES DVD TABLE OF CONTENT TV
Without any rational justification, Ruiz, who acts in the film, takes a TV remote and talks into it as if it were a cordless phone. There's a scene in Cofralandes, Chilean Rhapsody, the series of documentaries (?) for which Ruiz returned to Chilean filmmaking in 2002, that seems fascinating to me for its strangeness. Notebook is unfurling a series of tributes to Raúl Ruiz entitled Blind Man's Bluff : along with some previously published articles, here in English for the first time, the bulk a compilation of new, shorter pieces from a few generous critics and Ruizians on favorite moments from a vast, subterranean filmography. For more from Raúl Ruiz: Blind Man's Bluff see the Table of Contents.