I begin by quoting Raúl Ruiz: ‘What we are seeing we had already seen and had already forgotten’.1¹ This phrase follows the heading ‘Notes for an essay’, part of a short entry dated 26 February 2003 and included in the massive two-volume edition of the filmmaker’s diaries, Diario. Notas, recuerdos y secuencias de cosas vistas, published in 2017.2² The entry had a follow-up a year later. Discussing the music options for the film he was then shooting in Bucharest, Le domaine perdu/The Lost Domain (2005), Ruiz wished that his music composer Jorge Arriagada would write a piece referencing ‘archaic modes of Chilean folk music. We could play with “the already heard”, “the already seen”.’3³ Twenty-six years earlier, in De grands événements et des gens ordinaires/Of Great Events and Ordinary People (1978), the Chilean director proposed something similar via one of his documentary’s multiple narrators: ‘What we are living right now, we have already lived. What we are filming right now, we have already filmed.’4⁴ These sentences are heard over the shots of people waiting in line to vote, and they are there to highlight one of the film’s many themes – repetition. Of Great Events and Ordinary People was commissioned for television by the Institut National de l’Audiovisuel (INA) as a documentary about legislative elections from the viewpoint of a Chilean exile living in Paris. In this particular sequence, the notion that everything has already been seen stems from the understanding of elections as a ritual that repeats itself. Most importantly, images of elections – the people waiting in line, the empty ballot boxes – repeat themselves. The crew ‘had already filmed’ that venue and those people not because they had actually filmed them before, but because the shots they are producing function as citations that reference previous filmic representations, and this gesture of quotation makes an election intelligible as an event. Repetition, Ruiz suggests, is a form of citation, or vice versa. This idea would be expressed soon afterwards by Antoine Compagnon in his book La seconde main ou le travail de la citation, in which he claimed that, as a dispositive, citation ‘regulates the repetition of what has already been said’.5⁵ The ‘already said’, the ‘already seen’ and the ‘already filmed’ point to the same Ruizian notion: all images function as citations that echo previous images.

中文翻译：

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我们所看到的一切我们已经看到的：劳尔·鲁伊斯（RaúlRuiz）电影院中的引用

我首先引述劳尔·鲁伊斯：“我们所看到的，我们已经看到和已经有forgotten'.1 ¹，这句话标题后面的‘对一篇文章的注意事项’，2003年2月26日，并列入了大量的短条目的一部分电影制片人日记的两卷本，迪亚里奥（Diario）。NOTAS，recuerdosÿsecuencias德COSAS极目远眺，发表于2017.2 ²的入口有一个后续一年后。在讨论他当时在布加勒斯特拍摄的电影的音乐选择时，Le domaine perdu / The Lost Domain（2005），鲁伊斯希望他的音乐作曲家豪尔赫·阿里亚加达（Jorge Arriagada）写一篇参考“智利民间音乐的古老模式”的作品。我们可以玩“已经听到”，“已经看到” ^。'33二十六年前，在德大奖赛EVENEMENTS和des一族ordinaires /大事件和普通百姓（1978年），通过他的纪录片的多重叙事的一个类似的智利导演提出了一句：“我们现在生活的权利，我们已经住了 ' ^{4 4}这些句子是在排队等候投票的人们的镜头中听到的，这些句子是在强调电影的众多主题之一-重复。大事件和普通百姓由国家视听协会（INA）委托在电视上播放，从智利流亡者居住在巴黎的角度出发，这是一部有关立法选举的纪录片。在这个特定的顺序中，已经看到一切的观念源于对选举的理解，即选举是一种重复的仪式。最重要的是，选举的图像–排队的人，空的投票箱–重复一遍。摄制组已经拍摄了那个场地，而那些人不是因为他们实际上已经拍摄过之前曾对它们进行过拍摄，但由于它们所产生的镜头具有引用以前的电影作品的引文功能，因此这种引述的姿态使选举作为一个事件是可以理解的。鲁伊斯建议，重复是一种引用形式，反之亦然。这个想法是在他的书中表示不久由安托万·康帕格诺香格里拉主要Seconde系列欧乐劳苦德拉引用，其中他声称，作为一个决定性的，引“规定的已经取得的said'.5重复⁵的” “已经说过”，“已经看过”和“已经拍摄”都指向同一个Ruizian概念：所有图像的引用都与以前的图像相呼应。