Download A Cinematic Artist : the Films of Man Ray by Knowles, Kim; Man Ray, 1890-1976 PDF

By Knowles, Kim; Man Ray, 1890-1976

The yank artist guy Ray was once some of the most influential figures of the historic 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 parts, particularly movie, is to this present day either unknown and undervalued.
throughout the Twenties guy Ray made 4 brief experimental motion pictures and collaborated on a bunch of different tasks with humans corresponding to 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 improvement of another mode of filmmaking within the early 20th century. This booklet explores guy Ray’s cinematic interactions from the point of view of his interdisciplinary creative sensibility, developing hyperlinks among movie, images, portray, poetry, tune, 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 routine, the writer paints an intimate and intricate portrait of guy Ray the filmmaker

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Although Zurich and the Cabaret Voltaire are the widely accepted origins of Dada, a similar attitude was being expressed in New York as early as 1915 through the activities of Francis Picabia, Man Ray and Marcel Duchamp. ’23 Whilst encouraging their American counterparts to reject traditional forms of expression, Picabia and Duchamp were in turn inf luenced by their new surroundings, which gave a characteristic slant to their works and indeed to New York Dada more generally. Picabia, for instance, commented at the time: Between chaos and order: Le Retour à la raison 23 Almost immediately upon coming to America it f lashed on me that the genius of the modern world is in machinery […] I have been profoundly impressed by the vast mechanical developments in America.

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).

But that was a well-known process […] and I controlled it in order to repeat it. ]76 This tension between chance, repetition and control can equally be understood in relation to the rayograph technique and its use in the film. Between chaos and order: Le Retour à la raison 45 It is safe to say that the objects used in the rayograph sections of the film would have been selected with some foresight as to the kind of visual impression they would leave once the strips had been developed. With this in mind, is it by chance that a single drawing pin is juxtaposed with multiple nails, producing a kind of visual harmony?

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