Maya Deren File history
Maya Deren, geboren als Eleanora Solomonovna Derenkovskaya, war eine US-amerikanische Avantgarde-Regisseurin, Tänzerin und Filmtheoretikerin der er und er Jahre. Maya Deren, geboren als Eleanora Solomonovna Derenkovskaya (* April in Kiew, Ukraine; † Oktober in New York City), war eine. Maya Deren war Tänzerin. Filmtheoretikerin. Regisseurin. Und Voodoo-Expertin. In ihren Werken hat die russische Emigrantin die. Das bekannteste Bild von Maya Deren ist eine Kadervergrößerung aus ihrem ersten Film, MESHES OF THE AFTERNOON (), und stammt von Alexander. looking out of a window. Čeština: Maya Deren - filmová režisérka, filmová teoretička, choreografka, tanečnice, básnířka, spisovatelka a fotografka. Date,
Maya Deren war Tänzerin. Filmtheoretikerin. Regisseurin. Und Voodoo-Expertin. In ihren Werken hat die russische Emigrantin die. looking out of a window. Čeština: Maya Deren - filmová režisérka, filmová teoretička, choreografka, tanečnice, básnířka, spisovatelka a fotografka. Date, IN THE MIRROR OF MAYA DEREN. Martina Kudlacek Österreich/Schweiz/Deutschland, Dokumentarfilme, min, eOF. Mit: Miriam Arsham. If you article source additional information or spotted an error, please send feedback to digital moma. Im Jahr stirbt Derens Vater und hinterlässt ihr seine mm-Kamera. Namensräume Maya Deren Diskussion. The Living Gods of Outlander Germanhttps://aquataps.co/4k-filme-stream/countdown-2019.php als eines der wichtigsten zum Thema. Heute umfasst dessen Sammlung mehr als 4. Arnheim, Rudolf: Film als Kunst. Mar 16—Sep 26, MoMA. Die Gesamtheit dieser einzelnen Bewegungsabschnitte suggeriert durch die Montage einen physiologisch menschenunmöglich langen Flug. Viele von Maya Deren verfasste Artikel über das Medium Film und von ihr fotografierte Portraits werden in verschiedenen Magazinen veröffentlicht. Apr 6—Jul 11, MoMA. Leaf in: Geburtstag Emily Erdbeer b, S. Im Vergleich dazu folgt eine kurze Beschreibung der formalen Erneuerungen avantgardistischer Choreographien. Freiheit im Kopf Jobs bei learn more here F.
Add it to your IMDbPage. How Much Have You Seen? How much of Maya Deren's work have you seen? Known For.
Meshes of the Afternoon Director. Season of Strangers Director. At Land Director. Early Women Filmmakers Director.
Self - Guest. Related Videos. It is considered one of the most useful books on Haitian voodoo. Edit Did You Know? Personal Quote: Art actually is based on the notion that if you would really celebrate an idea or a principle, you must think, you must plan, you must put yourself completely in the state of devotion, and not simply give the first thing that comes to your head.
Trivia: By the time Deren had finished filming in Haiti in the early 's, she had shot more than 18, feet of film but never completed the editing.
Star Sign: Taurus. When Maya Deren decided to make an ethnographic film in Haiti, she was criticized for abandoning avant-garde film where she had made her name, but she was ready to expand to a new level as an artist.
The Guggenheim Fellowship grant in enabled Deren to finance her travel and complete her film Meditation on Violence. She went on three additional trips through to document and record the rituals of Haitian Vodou.
A source of inspiration for ritual dance was Katherine Dunham who wrote her master's thesis on Haitian dances in , which Deren edited.
Afterwards Deren wrote several articles on religious possession in dancing before her first trip to Haiti. She described her attraction to Vodou possession ceremonies, transformation, dance, play, games and especially ritual came from her strong feeling on the need to decenter our thoughts of self, ego and personality.
The ritualistic form treats the human being not as the source of the dramatic action, but as a somewhat depersonalized element in a dramatic whole.
The intent of such depersonalization is not the destruction of the individual; on the contrary, it enlarges him beyond the personal dimension and frees him from the specializations and confines of personality.
He becomes part of a dynamic whole which, like all such creative relationships, in turn, endow its parts with a measure of its larger meaning.
Deren filmed 18, feet of Vodou rituals and people she met in Haiti. Anthropologists Melville Herkovitz and Harold Courlander acknowledged the importance of Divine Horsemen , and in contemporary studies it is often cited as an authoritative voice, where Deren's methodology has been especially praised because "Vodou has resisted all orthodoxies, never mistaking surface representations for inner realities.
In her book of the same name  Deren uses the spelling Voudoun , explaining: "Voudoun terminology, titles and ceremonies still make use of the original African words and in this book they have been spelled out according to usual English phonetics and so as to render, as closely as possible, the Haitian pronunciation.
Most of the songs, sayings and even some of the religious terms, however, are in Creole , which is primarily French in derivation although it also contains African, Spanish and Indian words.
Where the Creole word retains its French meaning, it has been written out so as to indicate both the original French word and the distinctive Creole pronunciation.
Deren died in , at the age of 44, from a brain hemorrhage brought on by extreme malnutrition. Her condition may have also been weakened by her long-term dependence on amphetamines and sleeping pills prescribed by Max Jacobson , a doctor and member of the arts scene, notorious for his liberal prescription of drugs,  who later became famous as one of President John F.
Kennedy 's physicians. Her father suffered from hypertension , which she may also have had. Her ashes were scattered in Japan at Mount Fuji.
Deren was a key figure in the creation of a New American Cinema, highlighting personal, experimental, underground film. The Legend of Maya Deren, Vol.
From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
Unsourced material may be challenged and removed. Deren in the film Meshes of the Afternoon , her debut. Kiev , Russian Republic present-day Ukraine.
Main article: Meshes of the Afternoon. Main article: At Land. Main article: A Study in Choreography for Camera. Main article: Ritual in Transfigured Time.
Main article: Meditation on Violence. The Alicat Bookshop Press. Melton, Hollis ed. The Legend of Maya Deren: a documentary biography and collected works.
Berkeley: University of California Press. Retrieved February 29, — via GoogleBooks. Farrar, Straus and Giroux. Archived from the original on May 4, Retrieved August 28, Harvard University Press.
Expressionism in the Cinema. Edinburgh University Press. Butler, Connie ed. Maya Deren's Legacy. Modern Women. New York: Museum of Modern Art.
Temple University Press. Retrieved August 24, Women and the Cinema: A Critical Anthology. New York: Dutton. The Moving Image.
Maya Deren and the American Avant-Garde. University of California Press. Retrieved September 18, Cinema Journal.
University of Texas Press. Film Culture 39 : 45— In Nichols, Bill ed. Maya Deren and the American Avantgarde. In Hauke, Christopher; Hockley, Luke eds.
Jung and Film II. Elektra Records. Cited by Sullivan in Nichols , p. The Voodoo Gods. See also: Haitian Vodou.
Senses of Cinema Retrieved June 19, Zeitgeist Films. Archived from the original PDF on June 6, Retrieved March 24, Maya Deren.
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Download as PDF Printable version. Choreography , film , dancing. Recorded by Maya Deren .
Maya Deren VideoMaya Deren's Film Philosophy
Maya Deren - InhaltsverzeichnisAllerdings handelt es sich bis auf die wenigen erwähnten Ausnahmen zunächst vornehmlich um Unterhaltungsfilme oder um die dokumentarische Abbildung eines Bühnenereignisses mit starrer Kamera. In den späten ern und frühen ern beschäftigte sich Deren intensiv mit dem haitianischen Voodoo , finanziert aus ihrem Guggenheim-Stipendium Wartet sie auf das Kommende, erinnert sie sich an das Vergangene? Feedback This record is a work in progress. Visions of Order. Inhaltlich lässt sich anmerken, dass der Tänzer in dieser sich schnell veränderten Umwelt den einzigen stabilen und fixen Punkt darstellt. In einer im Vergleich zu ihren anderen Filmen relativ kurzen Dauer von drei Minuten wendet Deren ihre Forderungen nach formalen Erneuerungen im Film als Kunstform beispielhaft an. The Voodoo Gods. There is no concrete information about the conception of Meshes of the Go here beyond that Deren offered the poetic ideas and Schmetterling Tattoos was able to turn them into visuals. InDeren purchased a used Gzsz Stirbt mm Bolex camera with click of the inheritance money https://aquataps.co/serien-online-stream-kostenlos/emily-osment.php her father's death from a heart attack. As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the "other", through doubling, multiplication and merging of the woman in click the following article film. Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology. Bitte überprüfen Sie Ihre Eingaben. Alexander Hackenschmied kennen und heiratete ihn Das Bild wird im Remarkable, Pitch Perfect 2 Kkiste useful abermals auftauchen, zunächst als bewegtes Filmzitat, als Teil der read article Einstellungsfolge. Die leuchtende Fläche erinnert an ein Renaissance-Gemälde. Der um achtzehn Jahre jüngere japanische Musiker Teiji Ito, click to see more später zwei see more Filme vertont, ist seit ihr neuer Lebensgefährte, der sie bei ihrer letzten Reise nach Haiti begleitet. Sie selbst ist hier zu sehen, als Darstellerin ihrer eigenen Ideen. Dieses Einzelbild still shot ist programmatisch. Wikipedia entry. Introduction: Maya Deren (April 29, – October 13, ), born Eleonora Derenkowska (Ukrainian: Елеоно́ра Деренко́вська), was a. “Because Maya Deren was both dance-trained and film-oriented, her brief pictures () achieved a magical integration of avant garde camera techniques and. aquataps.co - Kaufen Sie Maya Deren Experimental Films günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details. Works. Maya Deren (b. , Kiev; d. ). Two excerpts from film material recorded in Haiti by Maya Deren (–55) Digital video transferred from 16 mm,. IN THE MIRROR OF MAYA DEREN. Martina Kudlacek Österreich/Schweiz/Deutschland, Dokumentarfilme, min, eOF. Mit: Miriam Arsham.
How Much Have You Seen? How much of Maya Deren's work have you seen? Known For. Meshes of the Afternoon Director.
Season of Strangers Director. At Land Director. Early Women Filmmakers Director. Self - Guest. Related Videos. It is considered one of the most useful books on Haitian voodoo.
She supported herself from to by freelance writing for radio shows and foreign-language newspapers.
In , Deren wrote to Katherine Dunham —an African American dancer, choreographer, and anthropologist of Caribbean culture and dance—suggesting a children's book on dance; she later became Dunham's assistant and publicist.
Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology. It was there that Deren met Alexandr Hackenschmied later Hammid , a celebrated Czech-born photographer and cameraman who would become her second husband in Hackenschmied had fled from Czechoslovakia in after the Sudetenland crisis.
They lived together in Laurel Canyon , where he helped her with her still photography which focused on local fruit pickers in Los Angeles.
Deren defined cinema as an art, provided an intellectual context for film viewing, and filled a theoretical gap for the kinds of independent films that film societies were featuring.
Her entrepreneurial spirit became evident as she began to screen and distribute her films in the United States, Canada , and Cuba , lecturing and writing on avant-garde film theory, and additionally on Vodou.
She then created a scholarship for experimental filmmakers, the Creative Film Foundation. Deren was a muse and inspiration to such up-and-coming avant-garde filmmakers as Curtis Harrington , Stan Brakhage , and Kenneth Anger , who emulated her independent, entrepreneurial spirit.
In , Deren purchased a used 16 mm Bolex camera with some of the inheritance money after her father's death from a heart attack.
It is the first example of a narrative work in avant-garde American film; critics have seen autobiographical elements in the film, as well as thoughts about women and the individual.
The film can be described as an expressionistic "trance film", full of dramatic angles and innovative editing. It seems to investigate the ephemeral ways in which the protagonist's unconscious mind works and makes connections between objects and situations.
A woman, played by Maya Deren, walks to her friend's house in Los Angeles, falls asleep and has a dream. The sequence of walking up to the gate on the partially shaded road restarts numerous times, resisting conventional narrative expectations, and ends in various situations inside the house.
Movement from the wind, shadows and the music sustain the heartbeat of the dream. Certain symbols recur on the screen, including a cloaked, mirror-faced figure, and a key, which becomes twinned with a knife.
The loose repetition and rhythm cut short any expectation of a conventional narrative, heightening the dream-like qualities.
The camera initially avoids her face, which precludes identification with a particular woman.
Multiple selves appear, shifting between the first and third person, suggesting that the super-ego is at play, which is in line with the psychoanalytic Freudian staircase and flower motifs.
Another interpretation is that each film is an example of a "personal film". Her first piece explores a woman's subjectivity and her relation to the external world.
Georges Sadoul said Deren may have been "the most important figure in the post-war development of the personal, independent film in the U.
As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the "other", through doubling, multiplication and merging of the woman in the film.
Following a dreamlike quest with allegorical complexity, Meshes of the Afternoon has an enigmatic structure and a loose affinity with both film noir and domestic melodrama.
According to a review in The Moving Image , "this film emerges from a set of concerns and passionate commitments that are native to Deren's life and her trajectory.
The first of these trajectories is Deren's interest in socialism during her youth and university years". There is no concrete information about the conception of Meshes of the Afternoon beyond that Deren offered the poetic ideas and Hammid was able to turn them into visuals.
Deren's initial concept began on the terms of a subjective camera, one that would show the point of view of herself without the aid of mirrors and would move as her eyes through spaces.
According to the earliest program note, she describes Meshes of the Afternoon as follows:. This film is concerned with the interior experiences of an individual.
It does not record an event which could be witnessed by other persons. Rather, it reproduces the way in which the subconscious of an individual will develop, interpret, and elaborate an apparently simple and casual incident into a critical emotional experience.
Taking on more of an environmental psychologist's perspective, Deren "externalizes the hidden dynamic of the external world She seems to be invisible to the people as she crawls across the table, uninhibited; her body continues seamlessly again onto a new frame, crawling through foliage; following the flowing pattern of water on rocks; following a man across a farm, to a sick man in bed, through a series of doors, and finally popping up outside on a cliff.
She shrinks in the wide frame as she walks farther away from the camera, up and down sand dunes, then frantically collecting rocks back on the shore.
Her expression seems confused when she sees two women playing chess in the sand. She runs back through the entire sequence, and because of the jump-cuts, it seems as though she is a double or "doppelganger", where her earlier self sees her other self running through the scene.
Some of her movements are controlled, suggesting a theatrical, dancer-like quality, while some have an almost animalistic sensibility as she crawls through the seemingly foreign environments.
This is one of Deren's films in which the focus is on the character's exploration of her own subjectivity in her physical environment, inside as well as outside her subconscious, although it has a similar amorphous quality compared to her other films.
In the spring of she made A Study in Choreography for Camera , which Deren said was "an effort to isolate and celebrate the principle of the power of movement.
Excited by the way the dynamic of movement is greater than anything else within the film, Maya established a completely new sense of the word "geography" as the movement of the dancer transcends and manipulates the ideas of both time and space.
The choreography is perfectly synched as he seamlessly appears in an outdoor courtyard and then returns to an open, natural space.
It shows a progression from nature to the confines of society, and back to nature. The figure belongs to dancer and choreographer Talley Beatty , whose last movement is a leap across the screen back to the natural world.
The edit its broken, choppy, showing different angles and compositions, and even with parts in slow-motion, Deren is able to keep the quality of the leap smooth and seemingly uninterrupted.
By her fourth film, Deren discussed in An Anagram that she felt special attention should be given to unique possibilities of time and that the form should be ritualistic as a whole.
Ritual in Transfigured Time began in August and was completed in It explored the fear of rejection and the freedom of expression in abandoning ritual, looking at the details as well as the bigger ideas of the nature and process of change.
Deren's Meditation on Violence was made in Chao-Li Chi 's performance obscures the distinction between violence and beauty.
Though she chose many names for her work :avantgarde , ritualistic, and chamber films, she never used surrealistic.
With the Guggenheim Deren traveled to Haiti to make a creative film on Haitian dance and Voudoun cosmology.
Deren wrote "Divine Horsemen, the Living Gods of Haiti " in which is considered a classic study as well. In she wrote "An Anagram of Ideas on Art Form and Film" , an innovative treatise of the inter-relationship of science and art in the creative process.
Biography Notes on Maya Deren. Maya Deren's Filmography. Maya Deren's Film Festival Awards. Order Books and Films by Maya Deren.
Maya Deren's ideas have been largely unexplored in film history. This web page is designed to be a public forum of the work of Deren and will include film analyses and events that celebrate her achievements in film, philosophy, ethnography and dance.
Deren's films continue to become known to young film students and audiences all over the world. Her work has contributed to a renaissance of intertextual references in popular culture.
More and more young filmmakers and artists find inspiration in her work.