Fuck yeah, Maya Deren!

Maya Deren (April 29, 1917, Kiev – October 13, 1961, New York City), born Eleanora Derenkowsky, was an American avant-garde filmmaker and film theorist of the 1940s and 1950s. Deren was also a choreographer, dancer, poet, writer and photographer. my tumblr

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Maya Deren | Usa, 1943 | 12 minuti | BN

Grazie al successo del suo primo film, MESHES OF THE AFTERNOON (1943), la regista Maya Deren si procurò una certa notorietà negli ambienti dell’Avanguardia newyorkese, dove ebbe modo di conoscere e frequentare vari personaggi intellettuali. Tra questi,...

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witch’s cradle, directed by maya deren & marcel duchamp, 1944

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The Very Eye of Night, 1958

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At Land (1944) is a 15-minute silent experimental film written, directed by, and starring Maya Deren. It has a dream-like narrative in which a woman, played by Deren, is washed up on a beach and goes on a strange journey encountering other people and other versions of herself. Deren once said that the film is about the struggle to maintain one’s personal identity.

The composer John Cage and the poet and film critic Parker Tyler were involved in making the film, and appear in the film, which was shot at Amagansett, Long Island.

(source wikipedia)

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El cine es tan útil para registrar la naturaleza, la realidad, y todas las otras formas de arte, que muy pocos son conscientes de que el cine como tal aún no se ha encontrado. Por arte cinematográfico entiendo la creación de algo que no podría ser logrado por ningún otro medio, del mismo modo en que un ballet es algo que una novela no puede hacer y viceversa.

Maya Deren.

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Their goddess of love is a very fascinating and complex idea. She is in fact goddess of all the luxuries which are not essential to survival. She is the goddess of love which, unlike sex, is not essential to propagation. She is the muse of the arts. Now man can live without it but he doesn’t live very much as man without it. It is strange that one would have to go to an apparently primitive culture such as Haiti to find an understanding in such exalted terms of what the essential feminine – not female – feminine role might conceivably be – that of being everything which is human. Everything which is more than that which is necessary. Taken from this point of view, there is no reason in the world why women shouldn’t be artists. And very fine ones.

—Maya Deren (1917-1961) describing the Vodou spirit Erzulie.

The experimental filmmaker was the first person to win a Guggenheim Fellowship for film. She used her grant to travel to in Haiti during the 1940s, immersing herself in Vodou rituals. Her 1953 book Divine Horsemen: The Voodoo Gods of Haiti introduced many Western readers to the complexity and depth of Vodou for the first time.

Photo of Maya Deren by bswise (Flickr, cc by-nc-nd 2.0)

-Nancy Rosenbaum, producer

(via beingblog)

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