L'ÉTOILE DE MER - MAN RAY, L'OEUF D'ÉPINOCHE - JEAN PAINLEVÉ, LA COQUILLE ET LE CLERGYMAN - GERMAINE DULAC - DES CARTES NET - FILMS

L'ÉTOILE DE MER UN FILM DE MAN RAY.

AVEC

ALICE (KIKI) , une femme. ANDRÉ DE LA RIVIÈRE, un homme. ROBERT DESNOS, un autre homme.

Assistant opérateur J. A. Boiffard 1928. France / 17 min. 30 sec / 16 mm / N & B.

Le Film muet "l'etoile de mer" poëme de Robert Desnos tel que la vue Man Ray est à visionné avec accompagnement musical libre de choix.

Le scénario de l’étoile de Mer s’inspire de la lecture à haute voix par Man Ray d’un poème de Robert Desnos.

À la suite d'un dîner avec Man Ray, Robert Desnos récite son poème L’étoile de mer. Man Ray trouve au fil de ces phrases, matière à faire le film que lui a commandité Arthur Wheeler.

"Je le voyais très bien en film, en film Surréaliste, et je déclarais à Desnos qu’avant son retour j’aurais fait un film de son poème." SIC Man Ray.

Les films que Man Ray a réalisé - Le Retour a la raison 1923 - Emak Bakia (fichez-moi la paix) 1927 - L'Étoile de mer 1928 - Rue Campagne Première 1923/29 - Les Chutes des "Mysteres du chateau du Dé" 1929 - Corrida 1929 - Autoportrait de ce qui manque à nous tous 1930 - Poison 1933/35 - L"atelier du val de Grasse 1935 - Courses landaises 1937 - La Garoupe 1937 - ADY 1938 - DANCE 1938- JULIET 1940 - Anemic Cinema avec Marcel Duchamp et Marc Allégret 1926. Il joua dans le fim de René Clair entr'acte.

ANÉMIC CINÉMA UN FILM DE MARCEL DUCHAMP
(1925)
07'30'' / 35mm
« Ce film, dont le titre anagramique évoque une "profondeur" illusoire, est composé de dix disques optiques entre lesquels alternent neuf disques qui comportent des inscriptions ». Catalogue Cinéma Dadaiste et surréaliste.
« Anémic cinéma : jeux d'images et jeux de langages spiralés pour remédier à l'anémie dimensionnelle du cinéma »

Anémic cinéma Marcel Duchamp

QUATRIÈME DIMENSION UN FILM DE M.A. SAINTE LAGUË

Jean Painlevé (1936) Réalisé par A.P. Duffour.

Quatrieme Dimension Video clic ici 1936

L'ŒUF D'ÉPINOCHE UN FILM DE JEAN PAINLEVÉ

 (1925)

d'après les obserbation du proffesseur Wintrebert et Yung Ko Ching

La pieuvre de Jean Painlevé 1928. .L'œuf d'épinoche de Jean Painlevé 1925 indisponibleA

Le vampire (1945) de Jean Painlevé

Le Vampire de Jean Painlevé 1939:45 9'

- Le Rite du Soleil Noir - by RG from ... on Vimeo. écrit d'Antonin Artaud  "Pour en finir avec le jugement de Dieu" (1947), Lecturer Roger Blin 1964.

Jean Painlevé a influencé, influence, de nombreux artistes contemporains par son travail, dont la richesse, l'indépendance de son cinéma, de ses choix, proposent une grandeur humaine et poétique qui fut, qui est, rare.

LA COQUILLE ET LE CLERGYMAN UN FIM DE GERMAINE DULAC

Scénario de Antonin Artaud,

(1927)

Étude cinégraphique sur une arabesque, Germaine Dulac 1929

The American photographer Man Ray was one of a group of avant-garde Paris filmmakers in the 20s that included Leger, Bunuel, Clair, Kirsanoff, and Cocteau. His short films have finally been released on video, compiled and restored by the Centre Georges Pompidou. The very brief LE RÉTOUR À LA RAISON (1923) consists of moving geometric designs, intercut with distorted night shots of a merry-go-round, then moving three dimensional shapes, and closing with the play of bars of light on a woman's nude torso. It was an experiment in abstract expressionism that inspired other directors. EMAK BAKIA (1926) displays the influence of both surrealism and dadaism. Once again Ray experiments with the movement of shapes - many of the effects seem tired now after decades of innovation in animated film, but they were fresh at the time. He employs bizarre imagery as well - a man's eyes turning into the headlights of a car, a flock of sheep, the legs of a dancing woman. Odd effects are attained through camera movement - sideways, upside down, etc. - or distortion of the image, as in a convex mirror. L'ÉTOILE DE MER (1928) is more adventurous, but less engaging. There are many shots of people walking in Paris - Ray blurs the image a lot, attempting to explore a subconscious nether region - intercut with images of the sea, and some remarkable ones of the underside of a starfish. One of the titles says, "The sun, one foot in the stirrup, nestles a nightingale in a veil of crepe." It is hard to know how seriously to take such surrealistic musings.

The lengthiest and most famous of Man Ray's films is LES MYSTÈRES DU CHÂTEAU DU DÉ (1929). The spacious chateau of the title, along with a rundown castle nearby, is employed to explore various spatial relationships and textures. Some of the best effects are achieved with long shots through windows into landscapes, while the camera is moving at the same time. Ray also does some very strange things involving people wearing nylon stockings over their heads (giving them an identical faceless look), throwing huge dice and practicing weird diving and swimming formations in the chateau's indoor pool.

Overall, I don't find Man Ray's films as interesting or stimulating as those of Clair or Bunuel from the same period. Their experiments were informed by a resolutely personal vision. Ray seems more the purely formal innovator. The cinema (and indeed all art forms) need eccentrics like him who are willing to try different combinations of elements and techniques so as to discover hidden potentials in the art. Ray's pictures are fascinating viewing in this historical sense, but precisely because of their character as innovation in the abstract, they have lost the novelty and excitement they once held. Film method has long since incorporated all these things, so that the works in themselves now seem "old hat." Ray seems to have decided that he wasn't suited for motion pictures, because he stopped making them after the 20s, returning to still photography as his vehicle

Merci aux personnes qui proposent informations et cartes vidéos sur le net. Sources > cinescene.com - Re:voir - robert desnos.asso - lips Page en cours.

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