By Knowles, Kim; Man Ray, 1890-1976
The yankee artist guy Ray was once some of 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 foreign acclaim, his task in different components, particularly movie, is to today either unknown and undervalued.
throughout the Twenties guy Ray made 4 brief experimental motion pictures and collaborated on a bunch of alternative initiatives with humans comparable to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a sequence of cinematic essays and residential video clips made through 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 inventive sensibility, developing hyperlinks among movie, images, portray, poetry, song, structure, dance and sculpture. through exposing his preoccupation with shape, and his ambiguous courting with the politics and aesthetics of the Dada and Surrealist pursuits, 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
The film then changes tone. Up to this point, separate images have lasted only a few seconds, preventing the viewer from becoming fixed on any one visual impression, and producing what could be described as a ‘fairground ef fect’, where the viewer is bombarded with a constantly changing visual stimulus. Either by coincidence or by direct reference to this ef fect, the next set of images is made up of various impressions of a fairground at night. However, only the lights of the rides are perceptible to the viewer, echoing the stark tonal contrasts of the previous sequence, white against black.
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. In contrast with the description of the rayographs, we are given very little information about the construction of these shots and the state of mind with which they were approached, outside, of course, the vague reference to the Dada spirit.
Various moments in the film, such as the image of a girl on a swing and the presentation of a newspaper headline, arouse narrative expectations which are then subverted and replaced by formal play. Similarly, René Clair’s Entr’acte, from a script by New York Dadaist Francis Picabia, uses a funeral as the pretext to take the viewer on a visual (and literal) roller coaster ride to an illogical and nonsensical ending. 53 As this brief outline suggests, the diverse range of approaches to narrative renders problematic any broad attempt to define avant-garde film specifically within these terms.
A Cinematic Artist : the Films of Man Ray by Knowles, Kim; Man Ray, 1890-1976