Maya Deren as Film Theorist: An Annotated Bibliography.
Deren, Maya (2001) Maya Deren and the American Avant-Garde, ed. Bill Nichols, University of California Press. Eisenstein, Film Form: Essays in Film Theory, ed and trans Jay Leyda, Harcourt.
The first collection of Annette Michelson's influential writings on film, with essays on work by Marcel Duchamp, Maya Deren, Hollis Frampton, Martha Rosler, and others. The celebrated critic and film scholar Annette Michelson saw the avant-garde filmmakers of the 1950s and 1960s as radically redefining and extending the Modernist tradition of painting and sculpture, and in essays that were as.
It offers an important essay on Maya Deren, whose work was central to that era of renewal and reinvention, seminal critiques of Stan Brakhage, Hollis Frampton, and Harry Smith, and overviews of Independent Cinema. Gathered here for the first time, these texts demonstrate Michelson’s pervasive influence as a writer and thinker and her role in the establishment of cinema studies as an academic.
Maya Deren (1917-1961) was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s.
Combining documentary, experimental, and creative approaches to filmmaking, Deren created a wholly original experience for film audiences, and this critical retrospective illuminates these productive tensions, which continue to energize film.
To be intimate implies that a kind of mutual understanding between people, an agreement of sorts that barriers might be negotiable, semi-permeable. One person gives permission, utters the secret password allowing the other at least an attempt to pass beyond the skin. Maya Deren has not consented to my investigations, my insinuating closeness.
Not Hollywood: Maya Deren Charts A New Course Despite unkind critical reception of Meshes of the Afternoon and her other early work, and the challenges of navigating a male-dominated field, Maya Deren forged a career that made her a preeminent voice of avant-garde cinema. She toured, lectured, and distributed her own films, establishing a lasting model for independent film production.