By Kim Knowles
The yankee artist guy Ray used to be some of the most influential figures of the ancient 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 parts, 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 tasks with humans corresponding to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a sequence of cinematic essays and residential videos made in the course of the Twenties and 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 inventive sensibility, growing hyperlinks among movie, images, portray, poetry, tune, structure, dance and sculpture. by means of exposing his preoccupation with shape, and his ambiguous dating 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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Additional info for A Cinematic Artist: The Films of Man Ray
Arguably more so than Duchamp and Arp, Man Ray incorporates unconscious expression into an ordered practice, controlling and structuring it in such a way as to bring about a creative tension between the conscious and the unconscious, order and chance. 42 CHAPTER 1 Rayography The element of chance plays a complex role in Le Retour and has been a key concern in discussions of the film. This emphasis is often related to the context in which it was made, with Tzara’s last-minute request requiring Man Ray to quickly produce some extra footage.
The term probably seemed appropriate to Man Ray at the time as his cinematic projects with Duchamp not only departed radically from the organised and polished nature of conventional filmmaking, but also often produced disastrous results. ’33 Yet despite this, the medium of film attracted very little attention amongst the Dadaists and few films were made during the movement’s most prolific period. The cinematic experiments undertaken by Man Ray and Duchamp in New York can thus be seen as the earliest attempts to incorporate the moving image into the Dada project and to highlight the dualistic nature of cinematic representation evoked by Elsaesser.
To return to Gunning: The aesthetic of attraction addresses the audience directly […] Rather than being an involvement with the narrative action or empathy with character psychology, the cinema of attractions solicits a highly conscious awareness of the film image engaging the viewer’s curiosity. 63 Indeed, we could use Foresta’s notion of visual ‘dramas’ in Man Ray’s films to understand the excited pleasure of looking and the curious anticipation of each new visual spectacle. Throughout Le Retour, Man Ray uses a number of techniques that focus specifically on the act of viewing.
A Cinematic Artist: The Films of Man Ray by Kim Knowles