Abstract The article discusses Raul Ruiz’s film The Hypothesis of the Stolen Painting (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of mise-en-abyme images that explore the multiple universe of tableaux vivants. The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of simulacra. The structure of The Hypothesis of the Stolen Painting is based upon the infinite reproduction of meaning since each simulacrum-tableau vivant leads to another. The author explores the gesturality of the bodies and its relevance to the use of language and sound in the film. Furthermore, he argues that Ruiz orchestrates the placement of the tableaux vivants in the filmic space in order to reveal the thought of eternal return.

中文翻译：

---

悬浮图像：劳尔·鲁伊斯电影《被盗绘画的假设》中的生动画面、手势和拟像

摘要 本文讨论了劳尔·鲁伊斯的电影《被盗画作的假设》（1978 年）。在房子的封闭空间中，出现了一个平行的世界，电影超文本由一系列探索多维世界的画面构成。文章分析了鲁伊斯对皮埃尔·克洛索夫斯基的拟像概念的挪用。《被盗绘画假设》的结构基于意义的无限再现，因为每个活生生的拟像画面都会导致另一个。作者探讨了身体的姿态及其与电影中语言和声音使用的相关性。此外，他认为鲁伊斯精心安排了电影空间中的场景，以揭示永恒回归的思想。