2.3 The infuence of filmmaker Man Ray in the history of the

Disobedient Directors

Man Ray's cinematic poetry explores unconventional narratives, focusing on the essence of objects and the human experience.
His film "Emak Bakia" (1926) exemplifies Dadaist experimentation by using editing to delve deep into visual meanings and forms.
Emphasizes breaking free from traditional film genres to engage in visual experimentation.
Contrasts with Soviet Formalism, where Eisenstein refined cinematic language for clear political messages.

Soviet filmmaking aimed for universal understanding across diverse populations post-1917 Revolution, prioritizing clear narratives.
Eisenstein introduced 'intellectual montage,' shaping contemporary cinema by constructing meaning through juxtaposed images.
The juxtaposition highlights differences between structured Soviet narratives and the abstract exploration found in Dadaist films.

By 2019, some music videos reflect the disobedience of filmmakers like Man Ray, showcasing an evolution in narrative forms and aesthetic expressions.
Emphasizes the idea of experimentation, moving away from conventional norms toward authentic artistic expression.

A clear script sets the groundwork for filmmaking, detailing dialogues, music cues, and sound effects.
The narrative structure of scripts varies, with manuals like "The Writer's Journey" and "Screenplay" guiding writers in transforming stories to the screen.
Script revisions are often needed to align creative ideas with film production realities.

The Three-Act Restorative Structure is based on Aristotelian notions of storytelling: clear beginning, middle, and end.
This model prevails in commercial cinema, ensuring audiences leave satisfied and resolved.

Paolo Genovese's film explores privacy and relationships through the lens of a social game involving mobile phone revelations, culminating in a deceptive ending reflective of the Three-Act structure.

Stanley Kubrick's film disrupts traditional narrative structures, ending with a bleak reflection on war rather than a happy resolution, making it a lasting commentary on Cold War anxieties.

Orson Welles' "Citizen Kane" uses multiple perspectives to depict a complex character, defying conventional storytelling.
Akira Kurosawa's "Rashomon" presents subjective truths through different characters, emphasizing the ambiguity of reality.
Stanley Kubrick's "The Killing" employs non-linear storytelling through varied points of view, challenging viewer expectations.
Quentin Tarantino’s "Reservoir Dogs" deviates from traditional robbery narratives by focusing on the aftermath rather than the heist itself.

Filmmakers like Welles, Kurosawa, Kubrick, and Tarantino reshape narrative conventions, embracing non-linear storytelling and subjective perspectives to deepen audience engagement and provoke thought.