La maleta (1960) ; El tango del viudo (1967) ; Trois Tristes Tigres (Tres tristes tigres, 1968) ; Militarismo y tortura (MM, 1969) ; La Catenaria (CM, id.) ; Qué hacer ? (1970) ; La colonia penal (1971) ; Ahora te vamos a llamar hermano (CM, id.) ; Nadie dijo nada (id.) ; La expropiación (1972) ; La teoría y la práctica : poesía popular (CM, CO Valeria Sarmiento, 1972) ; Los minuteros (CM, CO Sarmiento, id.) ; Nueva canción chilena (CM, CO Sarmiento, 1973) ; El realismo socialista (id.) ; Palomita brava (id.) ; Palomita blanca (id.) ; Abastecimiento (CM, id.) ; Dialogue d'exilés (Diálogo de exiliados, 1974) ; El cuerpo repartido y el mundo al revés/Mensch zerstreut und Welt verkehrt (1975) ; Sotelo (CM, 1976) ; la Vocation suspendue (1977) ; Colloque de chiens (CM, id.) ; l'Hypothèse du tableau volé (1978) ; les Divisions de la nature (CM, id.) ; Des grands événements et des gens ordinaires : les élections (1979) ; Petit Manuel d'histoire de France (id.) ; Images de débats (id.) ; Jeux (id.) ; le Jeu de l'oie (CM, id.) ; la Ville nouvelle (CM, 1980) ; l'Or gris (id.) ; Teletest (CM, id.) ; Pages d'un catalogue (MM, id.) ; Fahlstrom (CM, id.) ; le Territoire (1981) ; le Borgne (id.) ; le Toit de la baleine (Het dak van de walvis, id.) ; Images de sable (CM , id.) ; Ombres chinoises (CM, 1982) ; le Petit Théâtre (CM, id.) ; Querelle de jardins (CM, id.) ; Classification des plantes (CM, id.) ; les Trois Couronnes du matelot (1983) ; Lettre d'un cinéaste ou le Retour d'un amateur de bibliothèque (CM, id.) ; Bérénice (id.) ; la Ville des pirates (id.) ; le Point de fuite (1984) ; la Présence réelle (id.) ; les Destins de Manoel (1985) ; l'Éveillé du pont de l'Alma (id.) ; l'Île au trésor (1986) ; Richard III (id.) ; Mammame (id.) ; Régime sans pain (id.) ; Mémoire des apparences (id.) ; Angola ou les enfants du bannissement (id.) ; la Chouette aveugle (1987) ; le Professeur Taranne (id.) ; Tous les nuages sont des horloges (1988) ; Derrière le mur (id.) ; Palla y Talla (1989) ; la Telenovela errante (1990) ; l'Exode (id.) ; The Golden Boat (US, 1991) ; l'Œil qui ment/Dark at Noon (1992) ; Las soledades (CM, 1993) ; Fado, majeur et mineur (id.) ; Miroirs de Tunis (CM, id.) ; Promenade (sketch d'À propos de Nice, la suite, 1995) ; Jessie (Shattered Image, 1996) ; Trois Vies et une seule mort (id.) ; Généalogies d'un crime (1997) ; le Temps retrouvé (1999) ; Combat d'amour en songe (2000) ; Comédie de l'innocence (2000) ; les Âmes fortes (2001).
RUMANN (Siegfried Albon Rumann, dit Sig Ruman ou Sig)
acteur américain d'origine allemande (Hambourg 1884 - Julian, Nebr., 1967).
Il débute au cinéma en 1929 et incarne de façon hilarante, durant près de 40 ans, militaires teutons, psychiatres viennois et espions russes : Une nuit à l'opéra (S. Wood, 1935) ; Un jour aux courses (id., 1937) ; Heidi (A. Dwan, id.) ; la Joyeuse Suicidée (W. Wellman, id.) ; Seuls les anges ont des ailes (H. Hawks, 1939) ; Ninotchka (E. Lubitsch, id.) ; Jeux dangereux (id., 1942) ; la Valse de l'empereur (B. Wilder, 1948) ; Stalag 17 (id., 1953) ; le Zinzin d'Hollywood (J. Lewis, 1961) ; la Grande Combine (Wilder, 1966).
RUNZE (Ottokar)
cinéaste allemand (Berlin 1925).
Auteur, metteur en scène et directeur de théâtre, il réalise des téléfilms puis dirige, en 1971, son premier long métrage pour le cinéma : Viola und Sebastian. Il affirme son goût pour les thèmes sociaux et historiques : Vie perdue (Verlorenes Leben, 1975) ; le Drapeau (Die Standarte, 1976) ; Étoile sans ciel (Stern ohne Himmel, 1980), et pour une critique sociale souvent teintée d'ironie : le Lord de Barmbeck (Der Lord von Barmbeck, 1973) ; Haute Société - Responsabilité limitée (Feine Gesellschaft - beschränkte Haftung, 1982). Il se consacre ensuite à la télévision.
RUSH (Barbara)
actrice américaine (Denver, Colo., 1927).
Engagée par la Universal à 21 ans, elle apparaît dans The First Legion (D. Sirk, 1951), le Météore de la nuit (J. Arnold, 1953), le Secret magnifique (Sirk, 1954) et Capitaine Mystère (id., 1955), qui révèlent en elle une ingénue piquante au solide métier. Entrée à la Fox, elle arbore une féminité plus assurée dans Derrière le miroir (N. Ray, 1956), les Sensuels (M. Ritt, 1957) et le Bal des maudits (E. Dmytryk, 1958). Richard Quine lui confie, dans Liaisons secrètes (1960), son personnage le plus élégant et le plus nuancé, auquel succéderont notamment les Sept Voleurs de Chicago (Robin and the Seven Hoods, G. Douglas, 1964), Hombre (Ritt, 1967), Can't Stop the Music (Nancy Walker, 1980) et Summer Lovers (Randel Kleiser, 1982).
RUSHES.
Copies positives tirées par le laboratoire dès le développement du négatif et dont la projection, généralement effectuée en fin de journée pour les plans filmés la veille, permet à l'équipe de réalisation d'apprécier le résultat des prises de vues. ( COPIES, TOURNAGE, DOMINANTE, ÉTALONNAGE, LABORATOIRE.)
Rushes vidéo, On entend par rushes vidéo, un transfert en télécinéma, avec ou sans étalonnage, des négatifs tournés, au lieu d'un tirage sur film. Ces éléments sont fournis sous forme de cassettes, normalement dans un standard professionnel.
Les rushes vidéo sont établis soit lorsque les productions renoncent aux rushes film pour des raisons économiques, soit dans le cas de téléfilms tournés en film (super 16), puisque ces éléments sont uniquement destinés à être exploités en vidéo.
RUSPOLI (Mario)
cinéaste français d'origine italienne (Rome 1925 - Villepinte, Seine-Saint-Denis, 1986).
Après des études à l'École du Louvre, il écrit dans des revues techniques et artistiques. Il se tourne vers le cinéma en 1956, et, avec les Hommes de la baleine, signe son premier long métrage documentaire. Dans le même genre, il réalise par la suite des courts métrages et moyens métrages : Campagne romaine (1958), Ombre et lumière de Rome (1959), les Inconnus de la terre (1961). On lui doit encore Regards sur la folie (MM, 1962), terrible témoignage filmé dans un hôpital psychiatrique. En 1963, il tourne à nouveau un long métrage, Petite Ville, enquête en cinéma direct sur la vie d'une localité de Lozère. Il a enfin réalisé Chaval (1971).
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