By Kim Knowles
The yankee artist guy Ray was once probably the most influential figures of the historic avant-garde, contributing considerably to the advance of either Dadaism and Surrealism. when his pioneering paintings in images guaranteed him overseas acclaim, his task in different parts, particularly movie, is to today either unknown and undervalued.
During the Nineteen Twenties guy Ray made 4 brief experimental motion pictures and collaborated on a bunch of alternative tasks 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 video clips made in the course of the Nineteen Twenties and Nineteen Thirties, symbolize crucial contribution to the advance of an alternate 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, track, structure, dance and sculpture. through 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
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. 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.
In his autobiography, Man Ray remembers the manner in which he went about creating the extra rayograph footage for the film, stating: Acquiring a roll of a hundred feet of film, I went into my darkroom and cut up the material into short lengths, pinning them down on the work table. On some strips I sprinkled salt and pepper, like a cook preparing a roast, on other strips I threw pins and thumbtacks at random; then turned on the white light for a second or two, as I had done for my still Rayographs.
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. Nonetheless, it is important to shift the emphasis onto the actual content of the film if we are to understand how the complex relationship with Dada is expressed on a visual level.
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