In this shot Ruiz shows how curiosity of Marcel-the boy for technological toys (here -visual media-technology), and creative dedications of Marcel-the writer learning about the war through private letters, help both of them to feel distant from and above the cruelty and tragedy of war-making. Voyeuristic posture of a quiet contemplation on war prevails in them over more existentially mature and active stance towards the issues of peace and war or life and violent death. Ruize emphasizes here the childishness of a voyeuristic (spectator) position of just looking at war that majority of philistines of various nations do share with one another.


While Marcel-the adult reads about war, Marcel-the child is able to look at war through the new then cinematic technology. In both cases to look at war through mediation of perceptional technology distorts the nature and the essence of war. It normalizes war regardless of the film-makers’ intentions. Media make war acceptable to our unconscious – by the very fact that it’s possible to see it without being physically hurt. Representation of war through media technology becomes on the level of its very form – propaganda of war.


In this shot we see how military and civilian targets being hit by bombs and how our distance from the military actions psychologically removes the viewers from the reality of the destruction on the ground. The physical comfort and psychological tranquility of Marcel-the writer over the cinematic panorama of war symbolizes the imperturbability of the human soul perceiving war through media technology making people too inert to protest against the war or to protest against it without due intensity and passion.

By juxtaposing documentary clips with fictional elements Ruiz indignantly criticizing the role of “cinema verite” reports as an adequate source of information about war-making. By having Marcel Proust represented at once at two different ages over the background of the screen of war newsreel, Raul Ruiz, as if, makes him, one of the greatest writers, an ally of a reportage on war, which while informing people simultaneously, as if, normalizing war-making as a “natural” and acceptable way of addressing international conflicts. Even the exceptionally intellectually sensitive people like Proust can be “bluntly blind” in certain areas (or outside certain areas).

Posted on Oct/7/’17 –   Time Regained (TR) by Raoul Ruiz (1999) by Acting-Out Politics

Posted Oct/1/’17 – Three Phases Of Human Relationship With Death – From “Time Regained” (1999) By Raul Ruiz (Film Based On Marcel Proust’s Novel) by Acting-Out Politics

Posted on 6/29/’12 – Raul Ruiz’s “Time Regained” (1999) – Five Marcel Prousts (The Psychology of Existential Understanding) by Acting-Out Politics