Tyto webové stránky používají soubory cookies, které nám pomáhají zlepšovat naše služby, personalizovat reklamy a analyzovat návštěvnost. Používáním našich stránek s tímto souhlasíte.
Více informací

23rd Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum

Translucent Being: Man Ray

Man Ray: A Film Painter

The American artist Emmanuel Radnitsky (1890–1976) is better known by his pseudonym Man Ray. A multifaceted artist and a key figure of the interwar avant-garde, Ray was born into a family of Russian Jewish immigrants and spent his childhood in Brooklyn. While at high school, he received a scholarship to study architecture, but he decided instead to follow his dream of being an artist and subsequently worked a series of different jobs. Eventually, he studied fine art, thus gradually gaining access to artistic circles and discovering the European avant-garde. He began to photograph around 1914 and soon held his first exhibition. Thus began his definitive inclusion into the world of art, where one important experience was his meeting with Marcel Duchamp. Ray used new techniques to create original works of art. From 1921 to 1940, he lived in France, where he created most of his films. He was long known primarily as a Dadaist, a leading member of the Surrealist group, and the creator of four films. Between 1985 and 1996, however, several other films of his were discovered. Although none of them were intended for public viewing, they have helped to expand our understanding of Man Ray’s approach to film. Of special note are his visual sketches of his works of art, such as Autoportrait ou Ce qui manque à nous tous. For some of the films, it is difficult to ascertain their authorship with absolute certainty, and so we can only guess that they are the work of Man Ray. Even so, they are a valuable witness of the avant-garde of the 1920s. The reason for Man Ray’s departure from film at the turn of the 1920s and 1930s was not the emergence of sound but the increasing dependence on outside financing for filmmaking, his resistance to the collective viewing of films, and (as he himself admitted) the fact that he actually did not like moving images.

David Čeněk

film database

Ady
Here we enter Man Ray’s private world and watch a short scene in which the key role is played by the artist’s former partner Ady Fidelin, with whom he lived until the 1940s.
personal program

Ady

Man Ray
France / 1938 / 53 sec.
section: Translucent Being: Man Ray
Czech Premiere
Campagne - Premiere street
Since 1922, Man Ray had his studio in the Hotel Istria on Rue Campagne-Première. Marcel Duchamp, who worked in his studio, lived in the same building. In this short film, we see several shots from this place, supposedly unused footage for the film The Starfish. Here he also shot footage for the film What Do Young Films Dream About? for Henri Chometta.
personal program

Campagne - Premiere street

Man Ray
France / 1923 / 1 min.
section: Translucent Being: Man Ray
Czech Premiere
Corrida
In the director's autobiography, he says that he often and gladly filmed scenes from private life on 9.5 mm amateur film. Sometime around 1929, he lent a camera to Ernest Hemingway so that he could capture bullfighting in Pamplona, Spain. To date it has not been possible to determine with any certainty who actually shot Corrida. In 1929, Man Ray travelled, published, and filmed quite a bit, so it is certainly possible that this is indeed his footage from Spain.
personal program

Corrida

Man Ray
France / 1929 / 5 min.
section: Translucent Being: Man Ray
Czech Premiere
Dance
One of Man Ray’s last film experiments, in which he refers to the origins of cinema. We follow the mysterious Jenny, who performs a kind of dance. The same year, the International Exhibition of Surrealism opened at the Galerie Beaux-Arts in Paris. There, Man Ray is a master of light, and visitors tour his exhibition using a flashlight.
personal program

Dance

Man Ray
France / 1938 / 8 min.
section: Translucent Being: Man Ray
Czech Premiere
Garoupe
Once again, we see footage of the holidays that American photographer and filmmaker Man Ray spends in the French town of Antibes. And once again he uses Kodachrome color film supplied to him by the manufacturer. This new type of film was introduced to the market in 1937. According to Ray, he also received a camera with the request to show what he could create with it. He did not like the natural colors and used a filter that he forgot to take off, so that all shots ended up completely different and Man Ray was dissatisfied with the results.
personal program

Garoupe

Man Ray
France / 1937 / 9 min.
section: Translucent Being: Man Ray
Czech Premiere
Juliet
In July 1940 Man Ray departed for New York. In Hollywood he met Juliet Browner and they settled there together. Here he focused only on art and the creation of art pieces. Although director Al Lewin offered him work in Hollywood, Man Ray devoted himself solely to adding sound to his older films. In the film we see several private scenes of Juliet shot on 8mm. As Man Ray himself said: “At this time, I go to the cinema more out of politeness, because most films bore me.”
personal program

Juliet

Man Ray
France / 1940 / 4 min.
section: Translucent Being: Man Ray
Czech Premiere
Landers Race
From 1935, Man Ray stayed with friends in the Landes region. The company he kept included personalities such as André Breton and Paul Éluard, the writers of a script called An Attempt at Simulating Cinematic Delirium, from which several scenes were filmed on this very spot. Seven photographs from the shooting were published in the same year in Cahiers d'art. Here, however, we have another movie on the topic of the French version of bullfighting (tauromachie).
personal program

Landers Race

Man Ray
France / 1937 / 9 min.
section: Translucent Being: Man Ray
Czech Premiere
Poison
Swiss artist, painter, writer, and photographer Elisabeth Meret Oppenheim encounters Man Ray in this short film. There is no direction here, we see only insignificant movements – lighting a cigarette, or drinking from a glass. This is the middle of the director’s surrealist period, when his films were successfully presented alongside Un Chien Andalou, Entr’acte, and La Coquille et le Clergyman. In 1933 he made a film about the artist Constantine Brâncuşi that unfortunately was not preserved.
personal program

Poison

Man Ray
France / 1933 / 3 min.
section: Translucent Being: Man Ray
Czech Premiere
Self-Portrait, Or What We All Lack
Assistant, lover, and muse Lee Miller is the main character of this film, which is one of the few that has been positively identified, because in 1930 Montparnasse magazine published a photo with the description that it is a shot from Man Ray’s upcoming film. This film references to his famous later artwork from 1935 – Porcelain Pipe with Bubble. In other words, this is the film version of the artwork, in which Miller discovers the phallic symbolism of Princesse X, which at the time caused a scandal.
personal program

Self-Portrait, Or What We All Lack

Man Ray
France / 1930 / 11 min.
section: Translucent Being: Man Ray
Czech Premiere
Val-de-Grace Studio
A few quick shots, this time from another Parisian studio at Rue Val-de-Grâce. Here we see hanging one of his most emblematic works of art: A l'heure de l'Observatoire - Les Amoureux. It is interesting to note that Man Ray received Kodachrome color film from Kodak, on which he could shoot at a time when color films were far from common.
personal program

Val-de-Grace Studio

Man Ray
France / 1935 / 2 min.
section: Translucent Being: Man Ray
Czech Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
Respekt