By Knowles, Kim; Man Ray, 1890-1976
The yank artist guy Ray was once 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 overseas acclaim, his job in different components, significantly movie, is to at the present time either unknown and undervalued.
through the Twenties guy Ray made 4 brief experimental movies and collaborated on a number of alternative initiatives with humans similar to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, in addition to a chain of cinematic essays and residential videos made in the course of the Twenties and Thirties, characterize an important 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, growing hyperlinks among movie, images, portray, poetry, song, 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
59 The attraction is thus a political tool, used to manipulate the audience towards a desired response. Eisenstein places the attraction in opposition to the ‘trick’, which he describes in terms of pure spectacle, where the artist draws attention to his or her creative talent. Although Eisenstein’s formulation would seem to stand in opposition to Gunning’s appropriation of it, the avant-garde film as represented by Le Retour marks out a middle ground between the political attraction and the pure spectacle of the trick – a dichotomy that, interestingly, seems to mirror the way Man Ray fuses Dada with his more formal concerns.
This merging of the inherent unreality of the film with the reality of the event can be seen in later Fluxus works such as Nam June Paik’s Zen For Film (1962–4), which involves the projection of roughly one thousand feet of clear, unprocessed leader film. Here, the blank screen, the perceivable bits of dust and debris, and the reactions of the audience all become part of the half-hour long performance. As mentioned earlier, the context has the ef fect of framing and defining the content, and it is for this reason that Le Retour’s connection with the last Dada soirée should not be completely overlooked.
In order to give kinetic life to the static image, wisps of smoke are blown in front of it. After being brief ly exposed to the ‘realism’ and familiarity of the camera-based images, the viewer is once again presented with a sequence of rayographs, involving a similar mixture of identifiable and unidentifiable objects, such as paper, springs and spiralling forms (see figure 5). This is followed by another short section, an arrangement of black lines resembling the layout of a poem moving frantically from side to side.