Cut and Uncut: Ruizian Way of Editing

Cut and Uncut: Ruizian Way of Editing

In six functions of the shot , Ruiz outlines six different functions as a way of making films, a theory of connecting images and sound in a new creative manner. For Ruiz, film is not a single entity, rather, an exquisite mechanism assembled assembled by autonomous units – shots. He states, “When we see a film of 400 shots, we also see 400 films”. What seems to be an extreme statement, is surreal conclusion from logical demonstration proposed by his theoretical system. In other word, Ruiz has his own definition of shots. Ruiz is more associated with early theorists like Eisenstein who proposed there are visible shots in cinema, but the less visible intervals between shots, or even the “fleeting interstices” between them.1 Both material and conceptual definition of the interval between shots is a major variables in Ruiz’s eyes as well. In his definition, a shot is a composite of events and point of views. Events are shaped by a change in point of view, which is often determined by the perspective and camera’s position. In all, a shot is a set objects linked by actions under one point of view. Ruiz’s idea of course does not just limit to a descriptive one, he suggests that many shots also contains provisional openings and

1 Cha, Theresa Hak Kyung. Apparatus: cinematographic apparatus: selected writings. New York: Tanam Press, 1981.

closings, and secondly, the shots possesses microfictions that “struggling to draw attention to themselves” which constitutes to “ unconscious of the shot”. 2

What exactly is microfiction? Take a look at the first example of my video essay, a shot from Mysteries of Lisbon. Friar Baltasar paces around the room waiting, while his wife is giving birth in the room behind him. We see his anxious and depressing face. In the background, door closes. Even though the audiences can’t see what’s happening in the room, there is a invisible shot playing in our mind. The straggling and crying in the back is screaming for its attention that eventually contribute to a sub plot that deepen the enigma of the shot.

Let’s also proceed to discuss more about Ruiz’s categorization of shots and subsequently his uproar against mainstream, Hollywood narrative editing. These functions are generalized concept that’s goal to understand the potentialities and capacities of the shot, as well as connecting the surrounding shots. It’s important to not take it literally, rather, considering the context and use it as an guidence. The function of a shot, for one, is the deciding factor of its various openings and closings, as well as the microfictions that accompanied along the way. But most importantly, is to fuse the totality of the film. So what are the six functions that Ruiz outlined in his essay? They are:

1. A shot is equally a paradigm and an allegory.

2. A self-reflective (and critical) image.

3. Centripetal (independent, autonomous)

4. Centrifugal (connecting with the following and preceding shots)

2 Ruiz, Raúl. The Six Functions of the Shot. Images of Passage. Melbourne: Rouge Press / International Film Festival of Rotterdam, 2004, pp. 57-68.

5. It alludes to and synthesises the totality of shots and the stories they tell, that is to say, it is holistic.

6. It has combinatory potentiality. It will not always be internally coherent with the shots that precede or follow it.3

When Ruiz lists these functions, he also mentioned he is strongly against “strategic model”. He states, “a model is a field of activities plus the rules that govern its functioning”.4 If you think functions of the shot as English grammar, strategic model would be the annoying analytical essay formatting that you have to follow. Or in Ruiz’s word, “complete subordination to a strategic model (complete set) will bring about the loss of the film’s poetic force”, and subsequently drives people to “do specifically that, nothing else, next, nothing else, next” to eventually “get it done; the movie’s made”. 5 In my video essay, I used a scene from Hitchcock’s Vertigo as an example to demonstrate Hollywood strategic model’s centrifugal narrative dominance over the film industry. Ironically, In Ruiz’s Of Great Events and Ordinary People there is a moment in middle of a long take, at which point the voice-over narrator relieves the clam by remarking, “Now the narrator should say something to fill this space,”6 This is one of many reasons why I appreciate Ruiz as a film theorist and critics; his view on film theory often says more about our psychologies and sociologies than purely filmic field. But I have to restrain my investigation here, sadly.

3 “Six Functions”

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