By Knowles, Kim; Man Ray, 1890-1976
The yank artist guy Ray used to be the most influential figures of the ancient avant-garde, contributing considerably to the improvement of either Dadaism and Surrealism. when his pioneering paintings in images guaranteed him overseas acclaim, his task in different components, significantly movie, is to today either unknown and undervalued.
throughout the Nineteen Twenties guy Ray made 4 brief experimental movies and collaborated on a number of alternative initiatives with humans resembling Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a sequence of cinematic essays and residential video clips made throughout the Twenties and Nineteen Thirties, symbolize crucial contribution to the improvement 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, growing hyperlinks among movie, images, portray, poetry, track, structure, dance and sculpture. via exposing his preoccupation with shape, and his ambiguous courting 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 resources for A Cinematic Artist : the Films of Man Ray
Indeed, they ref lect some of the recurring themes in his work: the naked female body, spiralling forms and complex compositions of an object and its shadow. The inclusion of his own static work Danger/Dancer, attests to his desire to explore the way in which his previously developed visual ideas could be enhanced through motion. As such, these moments take on a more constructed quality, displaying little of the spontaneity that characterises the rest of the film. 77 His reference to ‘sporadic shots’ is interesting in its insistence on their trivial nature.
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).
One of the major characteristics of this approach is the over-emphasis on the role played by chance and its association with notions of illogic and disorder. Chance, logic and order Chance – submitting oneself to unknown, unmediated forces – was of crucial importance to the Dada movement since it was the principal means by which logic and order could be overthrown. The privileging of chance in the creative process was generally understood as bringing about a more truthful representation of reality through the suppression of rational thought.
A Cinematic Artist : the Films of Man Ray by Knowles, Kim; Man Ray, 1890-1976