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 improvement of either Dadaism and Surrealism. while his pioneering paintings in images guaranteed him overseas acclaim, his job in different parts, significantly movie, is to at the present time either unknown and undervalued.
throughout the Twenties guy Ray made 4 brief experimental movies and collaborated on a number of different tasks with humans reminiscent of Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a chain of cinematic essays and residential videos made through the Twenties and Nineteen Thirties, signify crucial contribution to the advance of an alternate mode of filmmaking within the early 20th century. This publication explores guy Ray’s cinematic interactions from the point of view of his interdisciplinary creative sensibility, developing hyperlinks among movie, images, portray, poetry, track, 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 routine, the writer paints an intimate and intricate portrait of guy Ray the filmmaker
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Extra info for A Cinematic Artist : the Films of Man Ray
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. Here, again in a number of separate shots, a nude torso moves from side to side in front of a window obstructed by blinds, the light from which casts complex shadows onto the body (see figure 7).
As mentioned earlier, the context has the ef fect of framing and defining the content, and it is for this reason that Le Retour’s connection with the last Dada soirée should not be completely overlooked. Nonetheless, it is important to shift the emphasis onto the actual content of the film if we are to understand how the complex relationship with Dada is expressed on a visual level. Despite the film’s very short running time, the amount and diversity of cinematic innovation is breathtaking. Within these few minutes Man Ray establishes clear visual themes and motifs and poses a variety of questions about the nature of visual representation and cinematic materiality.
66 In a way similar to the process used for Duchamp’s Three Standard Stoppages (1913–14) or Arp’s series of abstract collages, the arrangement of Man Ray’s pieces of paper representing the contours of cut-out images could be seen to express his unconscious since the trajectory taken by them was determined by an automatic gesture of the hand as it threw them onto the f loor. Between chaos and order: Le Retour à la raison 41 It is useful here to compare Man Ray’s recollections of The Rope Dancer’s construction with Tzara’s instructions for the making of a Dada poem: Take a newspaper.
A Cinematic Artist : the Films of Man Ray by Knowles, Kim; Man Ray, 1890-1976