By Knowles, Kim; Man Ray, 1890-1976
The yankee artist guy Ray used to be the most influential figures of the historic avant-garde, contributing considerably to the improvement of either Dadaism and Surrealism. when his pioneering paintings in images guaranteed him overseas acclaim, his task in different parts, significantly movie, is to today either unknown and undervalued.
in the course of the Nineteen Twenties guy Ray made 4 brief experimental motion pictures and collaborated on a bunch of different tasks with humans reminiscent of Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a sequence of cinematic essays and residential video clips made through the Twenties and Thirties, signify an important contribution to the improvement of another mode of filmmaking within the early 20th century. This ebook explores guy Ray’s cinematic interactions from the viewpoint of his interdisciplinary creative sensibility, growing hyperlinks among movie, images, portray, poetry, song, structure, dance and sculpture. via exposing his preoccupation with shape, and his ambiguous dating with the politics and aesthetics of the Dada and Surrealist pursuits, the writer paints an intimate and intricate portrait of guy Ray the filmmaker
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Additional resources for A Cinematic Artist : the Films of Man Ray
However, what I would like to propose here is that the concentration on exclusively visual elements outside of narrative concerns does not automatically translate as ‘anti-narrative’. Clearly there is a need for a new theoretical perspective that goes beyond the narrative/ non-narrative divide and acknowledges the unique position of particular films as occupying their own space, more or less removed from that of narrative film. What is required therefore is a more detailed account of the inherent concerns of individual films and the visual ideas expressed by them, thus opening up the field of avant-garde film theory to extend beyond restrictive generalisations.
One of the major characteristics of this approach is the over-emphasis on the role played by chance and its association with notions of illogic and disorder. Chance, logic and order Chance – submitting oneself to unknown, unmediated forces – was of crucial importance to the Dada movement since it was the principal means by which logic and order could be overthrown. The privileging of chance in the creative process was generally understood as bringing about a more truthful representation of reality through the suppression of rational thought.
They looked towards film as a way to express sensations that depended upon movement. For the German filmmakers this most often involved eliciting physiological responses through moving abstract shapes and forms, a process that developed from a desire to create a mode of visual expression analogous to that of music. What must be considered, then, is whether turning away from the use of narrative as an organising principle necessarily constitutes an act of rejection. Referring again to Kuenzli’s definition of Dada film, in which he states, ‘Dada films are radically non-narrative, non-psychological’, it can be deduced that there is a predominant tendency to view films that do not deal with narrative as ‘non’ narrative, ‘anti’ narrative, in other words specifically in opposition to narrative, an attitude that is most often understood in terms of Dada’s anti-art programme.