▁his ▁re jection ▁of ▁John ▁Howard ▁Law son ' s ▁central ▁conflict ▁theory ▁and ▁makes ▁a ▁case ▁for ▁unique , ▁en ig m atic ▁b ored om ▁in ▁film . ▁In ▁Po et ics ▁of ▁Cinema ▁ 2 ▁( 2 0 0 6 ), ▁he ▁addresses ▁the ▁not ions ▁of ▁fasc ination ▁and ▁det achment ▁with ▁respect ▁to ▁the ▁film - image . ▁In ▁the ▁third ▁volume ▁( pub lished ▁post hum ously ▁in ▁Spanish ▁in ▁ 2 0 1 3 ) ▁he ▁takes ▁on ▁Serge i ▁Eisen stein ' s ▁writ ings ▁and ▁describes ▁his ▁own ▁work ▁on ▁La ▁Rect a ▁Provin cia ▁and ▁N uc ingen ▁House . ▁ ▁In ▁a ▁March ▁ 2 0 1 6 ▁Lincoln ▁Center ▁master class , ▁Ru iz ' s ▁regular ▁actor ▁Mel vil ▁P oup aud ▁said ▁of ▁Ru iz ▁that : ▁" He ▁was ▁more ▁political ▁in ▁an ▁a est h etic ▁way ▁than ▁just ▁a ▁director . ▁For ▁instance , ▁the ▁book ▁he ▁wrote ▁when ▁he ▁was ▁a ▁teacher ▁in ▁Harvard ▁at ▁the ▁beginning ▁of ▁the ▁n inet ies ▁are ▁still ▁very ▁important ▁for ▁me . ▁I ▁read ▁them ▁and ▁I ▁understand ▁them ▁more ▁and ▁more ▁and ▁it ' s ▁his ▁vision ▁poet ical ▁but ▁mostly ▁political ▁finally ▁that ▁matters ▁more ▁and ▁more ▁to ▁my ▁mind ... ▁It ' s ▁very ▁important ▁I ▁think ▁to ▁read ▁it ▁especially ▁now ad ays ▁because ▁he ▁was ▁very ▁vision ary ▁especially ▁on ▁the ▁narr ative ▁theory ▁that ▁is ▁now ▁so ▁important ▁to ▁those ▁TV ▁shows