By Kim Knowles
The yank artist guy Ray was once the most influential figures of the old avant-garde, contributing considerably to the advance of either Dadaism and Surrealism. when his pioneering paintings in images guaranteed him foreign acclaim, his task in different components, significantly movie, is to today either unknown and undervalued.
During the Twenties guy Ray made 4 brief experimental motion pictures and collaborated on a number of alternative tasks with humans comparable 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, characterize crucial contribution to the improvement of an alternate 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, tune, structure, dance and sculpture. by way of exposing his preoccupation with shape, and his ambiguous courting with the politics and aesthetics of the Dada and Surrealist routine, 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
Many aspects of Le Retour attest to this position, betraying a fascination with cinematic language and its ability to widen the gap between signifier and signified through techniques such as movement and superimposition. Were the film intended as a simple negation, as many have suggested, it would surely not engage in such meticulous compositions, such as the moving paper spiral, the egg box divider and the nude torso simply to shock the spectator. It presents instead a process by which visual certainties are questioned and replaced with seemingly limitless representational possibilities.
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.
54 For Between chaos and order: Le Retour à la raison 33 example, Noureddine Ghali, in his extensive study of French avant-garde film of this period, observes: L’une des caractéristiques du cinéma d’‘avant-garde’ à partir de l’année 1924 fut le refus de toute forme de scénario traditionnel. 55 [One of the characteristics of the ‘avant-garde’ cinema starting in 1924 was the refusal to use any form of screenplay. ] The collective desire to break free from the conventions of an emerging cinematic norm is understood as giving birth to a range of films without narrative structure.
A Cinematic Artist: The Films of Man Ray by Kim Knowles