Download A Cinematic Artist: The Films of Man Ray by Kim Knowles PDF

By Kim Knowles

ISBN-10: 1906165378

ISBN-13: 9781906165376

The yank artist guy Ray used to be essentially the most influential figures of the ancient avant-garde, contributing considerably to the advance of either Dadaism and Surrealism. while his pioneering paintings in images guaranteed him overseas acclaim, his job in different components, particularly movie, is to today either unknown and undervalued.
During the Twenties guy Ray made 4 brief experimental movies and collaborated on a bunch of different tasks with humans akin 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, symbolize crucial contribution to the advance of another mode of filmmaking within the early 20th century. This booklet 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. via exposing his preoccupation with shape, and his ambiguous courting with the politics and aesthetics of the Dada and Surrealist pursuits, the writer paints an intimate and complicated portrait of guy Ray the filmmaker.

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Although there initially appear to be significant correspondences between the Surrealists’ concern with narrative and representation as a means to recreate the dream experience and the Impressionists’ attempt to express character psychology within a narrative context, their fundamental point of divergence arguably lies in the function of the narrative structure itself. ’52 By contrast, the narratives of Impressionist cinema give rise to the emotional states that provide the visual focus of the films, thus creating a lyrical and harmonious relationship between image and narrative, form and content.

Although there initially appear to be significant correspondences between the Surrealists’ concern with narrative and representation as a means to recreate the dream experience and the Impressionists’ attempt to express character psychology within a narrative context, their fundamental point of divergence arguably lies in the function of the narrative structure itself. ’52 By contrast, the narratives of Impressionist cinema give rise to the emotional states that provide the visual focus of the films, thus creating a lyrical and harmonious relationship between image and narrative, form and content.

From the ironic tone of these instructions and the inherent contradiction in providing guidelines for the production of a Dada work of art, it is very likely that Tzara was aware of the paradoxical issues involved in the notion of chance. These issues are similarly expressed in Man Ray’s use of chance as a creative method. Arguably more so than Duchamp and Arp, Man Ray incorporates unconscious expression into an ordered practice, controlling and structuring it in such a way as to bring about a creative tension between the conscious and the unconscious, order and chance.

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