By Knowles, Kim; Man Ray, 1890-1976

The yankee artist guy Ray used to be probably the most influential figures of the ancient avant-garde, contributing considerably to the improvement of either Dadaism and Surrealism. while his pioneering paintings in images guaranteed him foreign acclaim, his task in different parts, particularly movie, is to today either unknown and undervalued.
throughout the Nineteen Twenties guy Ray made 4 brief experimental motion pictures and collaborated on a number of different initiatives with humans akin to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, in addition to a sequence of cinematic essays and residential videos made in the course of the Nineteen Twenties and Nineteen 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 viewpoint of his interdisciplinary creative sensibility, developing hyperlinks among movie, images, portray, poetry, tune, structure, dance and sculpture. by way 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 complicated portrait of guy Ray the filmmaker

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Indeed, the most interesting aspect of the film seems to derive from the relationship between the artist and his material. Man Ray’s description of his method of filmmaking as analogous to that of a cook preparing a roast74 subverts conventional notions of the cinema as involving a high level of technical expertise and requiring a certain amount of pre-planning and logic. By taking away the cinematic apparatus and submitting the filmmaking process to the laws of chance, Man Ray rejects the very basis of the art form, just as he had rejected the conventions of photography by the same means.

Each section appears as a carefully composed illustration of dif ferent visual ef fects and their ability to transform the nature of the object being presented. For example, we are invited to consider the strange magnified image of a drawing pin dancing across the screen, its usually banal and relatively insignificant status as an everyday object making its sudden grandiose appearance all the more mesmerising. Since no camera was used in the creation of this particular image, the apparent movement of the object becomes all the more significant.

Dada in context: Zurich, Paris, New York Dada of ficially began in Zurich in 1916, with the poet Hugo Ball’s Cabaret Voltaire, a cabaret nightclub that invited all kinds of revolutionary artistic expression. The climate was one of disillusionment and scepticism in the face of the violence and meaninglessness of the First World War, and many artists and writers, including Emmy Hennings, Richard Huelsenbeck, Tristan Tzara, Hans Arp, Sophie Tauber and Marcel Janco had exiled themselves to the capital of neutral Switzerland.

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