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

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By Knowles, Kim; Man Ray, 1890-1976

ISBN-10: 1631681761

ISBN-13: 9781631681769

ISBN-10: 1906165378

ISBN-13: 9781906165376

ISBN-10: 3035303088

ISBN-13: 9783035303087

The yankee artist guy Ray was once probably 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, significantly 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 tasks with humans resembling Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a chain of cinematic essays and residential video clips made throughout the Twenties and Thirties, symbolize crucial contribution to the improvement of another mode of filmmaking within the early 20th century. This ebook explores guy Ray’s cinematic interactions from the point of view of his interdisciplinary inventive sensibility, developing hyperlinks among movie, images, portray, poetry, song, structure, dance and sculpture. by way of exposing his preoccupation with shape, and his ambiguous dating with the politics and aesthetics of the Dada and Surrealist routine, the writer paints an intimate and complicated portrait of guy Ray the filmmaker

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Sample text

The love of novelty is a pleasant sort of cross, it’s evidence of an naive don’t-give-a-damn attitude, a passing, positive, sign without rhyme or reason. But this need is out of date, too. By giving art the impetus of supreme simplicity – novelty – we are being human and true in relation to innocent pleasures; impulsive and vibrant in order to crucify boredom. 65 40 CHAPTER 1 Whilst we can pick out a thread of an argument from this excerpt, the status of the manifesto as an exercise in writing freed from the normal constraints of intellectual logic is evident.

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).

Mais c’était un procédé connu […] et je l’ai contrôlé pour le répéter. ’ [Initially it was a matter of chance. It was I who took it seriously, who perfected it, who controlled it, in order to obtain a certain quality […] They thought I had touched up my photos, my negatives, that I had the emphasised the subject with a black line. 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.

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

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