By Kim Knowles
The yankee artist guy Ray was once essentially the most influential figures of the old avant-garde, contributing considerably to the advance of either Dadaism and Surrealism. while his pioneering paintings in images guaranteed him overseas acclaim, his task in different components, particularly movie, is to this present day either unknown and undervalued.
During the Twenties guy Ray made 4 brief experimental movies and collaborated on a number of alternative initiatives with humans comparable to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a chain 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 e-book explores guy Ray’s cinematic interactions from the viewpoint of his interdisciplinary inventive sensibility, developing hyperlinks among movie, images, portray, poetry, tune, structure, dance and sculpture. via exposing his preoccupation with shape, and his ambiguous courting with the politics and aesthetics of the Dada and Surrealist events, the writer paints an intimate and intricate portrait of guy Ray the filmmaker.
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Extra resources for A Cinematic Artist: The Films of Man Ray
Looking at some of the photographic images he produced during this period, one can detect an increasing awareness of the way particular forms and textures could be juxtaposed to create compositional tension. Referring to the way chance plays a role in another of his photographic techniques – the process of solarization75– Man Ray stated, ‘Avant c’était le hasard. C’est moi qui l’ai pris sérieusement, qui l’ai perfectionné, qui l’ai contrôlé, pour obtenir une certaine qualité […] on croyait que j’avais retouché mes photos, mes négatifs, que j’avais cerné le sujet avec une ligne noire.
The content of the film represents a further turn away from traditional cinematic representations, opening up the debate on the relationship between form and content. Man Ray uses banal everyday objects as the basis of his cinematic observations, which, because of their specific, often utilitarian nature, are not traditionally subject to artistic depictions. This is because objects such as drawing pins, nails, grains of salt and pepper and bits of paper are not generally perceived in terms of their pictorial qualities and reproducibility.
At the end of the war and the reopening of national borders, the movement spread throughout Europe, manifesting itself dif ferently in each city and giving rise to a number of dif ferent ‘Dadaisms’ (Zurich, New York, Berlin, Hanover, Cologne, Paris) depending on the artists involved. 19 A number of writers whose direct involvement in the war had left them damaged and disillusioned were particularly responsive to Tzara’s anarchic personality and welcomed his arrival with enthusiasm. The ground had already been laid for the f lourishing of Dada in Paris through various activities and publications, notably Arthur Cravan’s Maintenant, Pierre Reverdy’s Nord-Sud, Francis Picabia’s 391, and Littérature – established in 1919 by André Breton, Philippe Soupault and Paul Eluard.
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