By Knowles, Kim; Man Ray, 1890-1976
The yankee artist guy Ray used to be the most influential figures of the ancient avant-garde, contributing considerably to the advance of either Dadaism and Surrealism. while his pioneering paintings in images guaranteed him foreign acclaim, his task in different components, significantly movie, is to at the present time either unknown and undervalued.
throughout the Nineteen Twenties guy Ray made 4 brief experimental movies and collaborated on a number of alternative tasks with humans equivalent to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a chain of cinematic essays and residential video clips made in the course of the Twenties and Thirties, characterize crucial contribution to the advance of another mode of filmmaking within the early 20th century. This e-book explores guy Ray’s cinematic interactions from the viewpoint 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
Take some scissors. Choose from this paper an article of the length you want to make your poem. Cut out the article. Next carefully cut out each of the words that makes up this article and put them all in a bag. Shake gently. Next take out each cutting one after the other. Copy conscientiously in the order in which they left the bag. 67 Just as Man Ray recognised the artificiality of conscious intention and ultimately embraced the beauty of his unconscious (or automatic) creation, so too does Tzara reject all illusions of artistic skill in advocating a direct expression of the mind through chance compositions (in fact, in his emphasis on the simple processes of cutting and pasting, Tzara seems to encourage a regression to the kind of artistic activity carried out by children).
The term probably seemed appropriate to Man Ray at the time as his cinematic projects with Duchamp not only departed radically from the organised and polished nature of conventional filmmaking, but also often produced disastrous results. ’33 Yet despite this, the medium of film attracted very little attention amongst the Dadaists and few films were made during the movement’s most prolific period. The cinematic experiments undertaken by Man Ray and Duchamp in New York can thus be seen as the earliest attempts to incorporate the moving image into the Dada project and to highlight the dualistic nature of cinematic representation evoked by Elsaesser.
Man Ray therefore makes use of a selfref lexive approach to create an element of surprise or wonder that derives from an early pre-narrative interest in cinematic novelty and illusionism. Between chaos and order: Le Retour à la raison 39 What seems to have prevented Le Retour from being considered seriously from this perspective is the continued insistence on its negative qualities and its positioning within a ‘cinema of refusal’. 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.
A Cinematic Artist : the Films of Man Ray by Knowles, Kim; Man Ray, 1890-1976