By Knowles, Kim; Man Ray, 1890-1976
The yankee artist guy Ray used to be some of the most influential figures of the old 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, particularly movie, is to at the present time either unknown and undervalued.
through the Twenties guy Ray made 4 brief experimental movies and collaborated on a number of alternative initiatives with humans equivalent to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a sequence of cinematic essays and residential video clips made throughout the Nineteen Twenties and Nineteen Thirties, signify 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 viewpoint of his interdisciplinary creative sensibility, developing hyperlinks among movie, images, portray, poetry, song, structure, dance and sculpture. via 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 resources for A Cinematic Artist : the Films of Man Ray
This is followed by another short section, an arrangement of black lines resembling the layout of a poem moving frantically from side to side. In between this and the following set of images are two frames on which Man Ray’s name appears, which again pass almost unnoticed by the viewer at normal 28 CHAPTER 1 projection speed (see figure 6). The final section of the film consists of three optical experiments brought together by their focus on light and movement. They can in many ways be seen to express one of the main principles of the film, and indeed much of Man Ray’s work in general, that is, the ability of an object to transform itself, expressing hidden qualities and reversing the associations traditionally attached to it.
43 Constantly evolving and rarely unified, the first wave of theories and cinematic approaches, often termed ‘Impressionism’, emerged from figures such as Louis Delluc, Ricciotto Canudo (founder of the Le Club des Amis du Septième Art), Léon Moussinac, Emile Vuillermoz, and later, Germaine Dulac and Jean Epstein. ’45 Delluc and Moussinac’s vision of the cinema as a ‘democratic art’46 hinged on the use of realist narratives and settings, depicting characters in harmony with the surrounding landscapes.
The dif ference is that whilst Léger is talking about conventional cinematic techniques and accepts its technological basis, Man Ray, through his use of rayography, allows a direct physical relationship to be brought about between filmic materiality and the material of reality. What brings the two approaches together, however, is the concentration on the plastic qualities of the image and the exploration of representation outside of narrative concerns. 30 CHAPTER 1 Pro-visual/anti-narrative Aside from the combination of techniques and the nature of the material featured in the film, one of the strongest features of Le Retour is arguably its unconventional structure, often understood in terms of a rejection of nar rative and therefore as representing once again the negative aspect of Dada.
A Cinematic Artist : the Films of Man Ray by Knowles, Kim; Man Ray, 1890-1976