Download PDF by Knowles, Kim; Man Ray, 1890-1976: A Cinematic Artist : the Films of Man Ray
By Knowles, Kim; Man Ray, 1890-1976
The yank artist guy Ray was once essentially the most influential figures of the historic avant-garde, contributing considerably to the advance of either Dadaism and Surrealism. when his pioneering paintings in images guaranteed him foreign acclaim, his job in different parts, particularly movie, is to today either unknown and undervalued.
throughout the Twenties guy Ray made 4 brief experimental movies and collaborated on a number of alternative tasks with humans resembling Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a chain of cinematic essays and residential videos made in the course of the Nineteen Twenties and Thirties, signify crucial contribution to the advance of an alternate mode of filmmaking within the early 20th century. This e-book explores guy Ray’s cinematic interactions from the point of view of his interdisciplinary inventive sensibility, growing hyperlinks among movie, images, portray, poetry, song, structure, dance and sculpture. by means of exposing his preoccupation with shape, and his ambiguous dating with the politics and aesthetics of the Dada and Surrealist hobbies, the writer paints an intimate and intricate portrait of guy Ray the filmmaker
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Additional info for A Cinematic Artist : the Films of Man Ray
One might argue that in order for a film to have been Dada it need not be made by a Dadaist, or conversely, that there were no Dada films outside the events in which they figured. 38 The ultimately nihilist character of Tzara’s Dada soirée succeeded in making out of Man Ray’s film a statement about the nature of cinematic representation and spectatorship. 39 The disruption of those 26 CHAPTER 1 very conditions vital to the conventional Western cinema-viewing experience – the continuous projection and the immersion of the viewer into the world of the film – represents the ultimate Dada gesture.
The very act of choosing the newspaper, isolating particular words, placing them in a bag, taking them out one-by-one, and then copying them ‘carefully’ represents a controlled framework from which the chance creation is born. From the ironic tone of these instructions and the inherent contradiction in providing guidelines for the production of a Dada work of art, it is very likely that Tzara was aware of the paradoxical issues involved in the notion of chance. These issues are similarly expressed in Man Ray’s use of chance as a creative method.
As the crate made to rotate in alternate directions, a superimposition of the same object is added, rendering the composition visually complex. As with the spiralling paper, the movement is executed at varying speeds. At times, the crate spins rapidly, whilst at others, the movement is slower, allowing the formal details of the object to be more fully absorbed. The final images of Le Retour feature the only human presence in the film. In Emak Bakia a few years later, Man Ray would extensively explore the cinematic potential of the human form, ref lecting his career-long interest in both the portrait and the naked female body.
A Cinematic Artist : the Films of Man Ray by Knowles, Kim; Man Ray, 1890-1976