By Knowles, Kim; Man Ray, 1890-1976
The yankee 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 components, significantly movie, is to today either unknown and undervalued.
in the course of the Twenties guy Ray made 4 brief experimental motion pictures and collaborated on a number of alternative tasks with humans similar to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, in addition to a sequence of cinematic essays and residential videos made in the course of the Nineteen Twenties and Thirties, signify crucial contribution to the advance of another mode of filmmaking within the early 20th century. This booklet explores guy Ray’s cinematic interactions from the viewpoint of his interdisciplinary creative sensibility, growing hyperlinks among movie, images, portray, poetry, track, structure, dance and sculpture. by way of exposing his preoccupation with shape, and his ambiguous courting with the politics and aesthetics of the Dada and Surrealist activities, 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
In the visual arts, chance was employed by a number of individuals associated with Dada. Long before the frottages of Max Ernst or the automatic drawings of Joan Miró and André Masson, artists such as Jean Arp in Zurich and Marcel Duchamp in both New York and Paris were introducing chance as a main element in their work. Using similar processes in which objects were randomly dropped onto a surface and fixed into position, Arp and Duchamp invented new systems of creation in which conscious intention becomes only the secondary aspect of the work.
Referring again to Kuenzli’s definition of Dada film, in which he states, ‘Dada films are radically non-narrative, non-psychological’, it can be deduced that there is a predominant tendency to view films that do not deal with narrative as ‘non’ narrative, ‘anti’ narrative, in other words specifically in opposition to narrative, an attitude that is most often understood in terms of Dada’s anti-art programme. That the majority of films from this Between chaos and order: Le Retour à la raison 35 period have been classified in terms of Dada makes the issue all the more pertinent.
The collective desire to break free from the conventions of an emerging cinematic norm is understood as giving birth to a range of films without narrative structure. Ghali states that Le Retour à la raison, and films such as Ballet mécanique and Jeux des ref lets et de la vitesse (Henri Chomette, 1924), can be defined in terms of a common denominator: the total refusal of narrative. However, Ghali describes this development solely in terms of rejection and elimination – both, in ef fect, negative processes.
A Cinematic Artist : the Films of Man Ray by Knowles, Kim; Man Ray, 1890-1976