By Kim Knowles
The yankee artist guy Ray was once essentially 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 task in different components, particularly 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 different tasks with humans comparable to Marcel Duchamp, Fernand Léger, René Clair and Hans Richter. those works, besides a sequence of cinematic essays and residential video clips made in the course of the Nineteen Twenties and Thirties, symbolize crucial contribution to the improvement of an alternate mode of filmmaking within the early 20th century. This publication explores guy Ray’s cinematic interactions from the viewpoint of his interdisciplinary creative sensibility, developing 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 complicated portrait of guy Ray the filmmaker.
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Extra resources for A Cinematic Artist: The Films of Man Ray
Automatism, as it became known during the Surrealist years,64 referred to the act of speaking, writing, drawing or painting in a spontaneous manner or ‘without thinking’. This involves a suppression of the conscious, rational mind, allowing the unconscious – the part of the brain that is usually latent during waking life – to be expressed. Although automatism only became codified and theorised within Surrealist discourse, automatic processes also played a significant role in Dada art and writing.
As a kind of counter-cinema. Various moments in the film, such as the image of a girl on a swing and the presentation of a newspaper headline, arouse narrative expectations which are then subverted and replaced by formal play. Similarly, René Clair’s Entr’acte, from a script by New York Dadaist Francis Picabia, uses a funeral as the pretext to take the viewer on a visual (and literal) roller coaster ride to an illogical and nonsensical ending. 53 As this brief outline suggests, the diverse range of approaches to narrative renders problematic any broad attempt to define avant-garde film specifically within these terms.
I cut these out and arranged the forms into sequences before I began the final painting. After several changes in my composition I was less and less satisfied. It looked too decorative and might have served as a curtain for the theater. Then my eyes turned to the pieces of colored paper that had fallen onto the f loor. They made an abstract pattern that might have been the shadows of the dancer or an architectural subject, according to the trend of one’s imagination if he were looking for a representative motive.