...Lucy Fischer More than fifty years after the death of experimental filmmaker Maya Deren on 13 October 1961, this essay attempts to grapple with her complex legacy. While numerous scholars have already provided in-depth studies of Deren's films, writings, and biography, this article seeks to take...

... Excerpts from an Interview with The Legend of Maya Deren Project The Camera Obscura Collective The Legend of Maya Deren, a three-volume documentary biography of the late filmmaker, writer and ethnologist, is being published as a special series of Film...

...Figure 2. Deren's vever overlaid on Barbara Hammer's footage in Vever (for Barbara) (US, 2019) ...

.... Christina Creveling The LegendofMaya Deren Project The LegendofMaya Deren is a documentary biography about a woman who has not been properly acknowledged for her groundbreaking work in art and aesthetics during the 1940's and 1950's. She is best known as a founder...

... figures that will weave their way through this article in more detail. I have suggested that the particular allegorical work of this film takes place along two axes, the horizontal and the vertical. In 1953, the American avant- garde filmmaker Maya Deren took part in a symposium on poetry...

...-17s. Interview with Babette Mangolte. Vol. I, no. 3-4;pp. 198-210. Interview with The Legend of Maya Deren Project. Vol. I, no. 3-4;pp. 177-191. Review: mlf. Vol. I, no. 3-4;pp. 233-237, Cine-Femmes International (Rosine Grange and Vivian Ostrovsky...

... it to psy- choanalytic feminism, as well as to films and to theories of other feminist film and video artists such as Maya Deren and Chantal Akerman. Well-documented, Abramovic´’s performance art has had an audience far beyond those who actually have attended her per- formances at galleries...

... the subject of stern critique in the 1940s. Maya Deren, for example, writes in diary entries from February and March 1947 of her consternation over Gregory Bateson’s use of cybernetic concepts in anthropological analysis, particularly in regard to the use of a single technical vocabulary...

... – 33 Lucy Fischer Afterlife and Afterimage: Maya Deren in “Transfigured Time.” No. 84: pp. 1 – 31 Katherine Fusco The Actress Experience: Cruel Knowing and the Death of the Picture Personality in Black Swan and The Girlfriend Experience. No. 82: pp. 1 – 35 Alexander R...

... analyses, they were often applied to the film in order to assert a mimetic relationship between concept and image. In a Lacanian analysis of Maya Deren’s Meshes ofthe Afternoon (introduced by the author, Margaret Bates, with an extended apologia for the choice...

... by women and including Meshes of the Afternoon (Maya Deren) and La Souriante Mme. Beudet (Germaine Dulac). Freude is a film distributor and makes movies on the left side. Nancy Huston is a Canadian who has been living and working in Paris for the past five years. She has...

.... ed. Maya Deren and the American Avant-Garde. Berkeley: University of California Press, 2001. Petrie, Graham. Hollywood Destinies: European Directors in America, 1922–1931. Detroit, MI: Wayne State University Press, 2001. Phillips, Patrick. Understanding Film Texts: Meaning...

...: Selected Writings) edited by Theresa Hak Kyung Cha. Essays by Barthes, Vertov, Baudry, Deren, Huillet and Straub, Kuntzel, Augst, Vernet and Metz. Tanam Press. New York, 1981. Figures of Desire: A Theory and Analysis of Surrealist Film by Linda Williams. University...

... destroy (to borrow from Deren borrowing from Mallarmé), as these oppositions give way to the spectator's contemplation of an environment where an unending production of emergent moments gives way to next moments, oriented toward their own presence rather than a climactic conclusion. This production...

... For example, the archive might contain statements regarding the following: • Anthology Film Archives Maya Deren screening room • Specific films: for example, Dorothy Arzner’sMerrily We Go to Hell, Maria Luisa Bemberg’s I, the Worst of All, and Marziyeh Meshkini’s The Day I Became...

... For example, the archive might contain statements regarding the following: • Anthology Film Archives Maya Deren screening room • Specific films: for example, Dorothy Arzner’sMerrily We Go to Hell, Maria Luisa Bemberg’s I, the Worst of All, and Marziyeh Meshkini’s The Day I Became...

... For example, the archive might contain statements regarding the following: • Anthology Film Archives Maya Deren screening room • Specifi c fi lms: for example, Dorothy Arzner’s Merrily We Go to Hell, Maria Luisa Bemberg’s I, the Worst of All, and Marziyeh Meshkini’s The Day I Became...

... For example, the archive might contain statements regarding the following: • Anthology Film Archives Maya Deren screening room • Specifi c fi lms: for example, Dorothy Arzner’s Merrily We Go to Hell, Maria Luisa Bemberg’s I, the Worst of All, and Marziyeh Meshkini’s The Day I Became...

... 1960s American Avant-Garde Film Maya Deren’s Attack of Stan Brakhage: Feminism Meets Bohemianism Love and the Camera Who’s Really in Control? Abandoning the Establishing Shot Mid-century Birth Celebration The Tripod in the Production of a Personal Documentary: Forgetaboutit! Is Anything...