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1926 Movie Directed by Man Ray
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Directed by Man Ray
With: Rose Wheeler, Kiki de Montparnasse, Jacques Rigaut
Time: 7 min; NB, no sound with musical accompaniment
Shooting locations : Biarritz, Paris
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Emak Bakia is a transitional work and hybrid construction between the Dadaist provocation Retour à la Raison and openly dream world of L'Etoile de mer.
As said its author, Emak Bakia was designed following the surrealists principes: automation, improvisatio, irrationality, psychological and dreamlike sequences, lack of logic and contempt for dramaturgy. But Breton and friends don't like the film during his first presentation to the Vieux Colombier.
As if to follow in its neighbor Atget, rue Campagne-Première, he says. "I like to adventure with a shooting device There are new, always, everywhere . Just look around. "
It is undoubtedly in that spirit that turns Emak Bakia : "I had no scenario would all be improvised.". This is not the prior scenario that determines the choice of scenes to shoot, but the whim, chance, circumstances ... In the end, "a lot of sequences", the disparate nature is barely cleared by mounting, even if it is introduced as "a kind of progression by contrasts".
Man Ray's film is entirely structured by the issue of look and see.
It begins with the artist's image in the eyepiece to the camera. By mirror effect, the image derives from a double reading: self-portrait but certainly turning the vision device. This eye, already present on photos and Man Ray's objects (Object to be destroyed - 1923), returns during the film as a transition between abstract sequences and narrative sequences.
The eye opens superimposed on the grille of the car, third eye clignat eyelids, as stunned by the spectacle that comes to offer.
Man Ray connects with two front dolly camera movements: the first to the mechanical eye of the automobile, the second on his face masked look of Rose Wheeler.
Beyond the representation of the organ, the eye is arrested repeatedly. First mechanical, then it appears in the guise of female faces that our presence hard to sleep. Each caters for a look that sometimes smiled and sometimes pouts at the camera watching him.
Man Ray and means the permanent passage from the real world to the domain of the imagination, and gives a second reason for the visual extravagance that just proposed.
In the final plan, Kiki reiterate the movement of other actresses, to start immediately in the limbo of dreams and leave only the appearance of a false eye drawn on the eyelids.
Excerpts from Man Ray, directeur du mauvais movies, Jean-Michel Bouhours (Editions du Centre Georges Pompidou, 1997) |
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