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Topic: Maya Deren

	Maya Deren Films by Mystic Fire Video (Site not responding. Last check: 2007-10-14)
		Maya Deren was a brilliant filmmaker and theorist whose films and writings have nevertheless paled beside the even larger legend surrounding her life and death.
		Maya Deren was born Eleonora Derenkowsky in Kiev in 1917.
		Deren became involved in modern dance, and while she was not trained as a dancer, she was enchanted by the power of movement and the challenges of space and time.
	www.mysticfire.com /ntsc/archives/bios/NIDeren.html (1189 words)

	Maya Deren
		Deren is most strongly opposed to realism as a mode linked to photographic reproduction, accusing the realist of denying "the value of the original, artificial reality created by the rigours and disciplines of the art instrument' and aiming at an effacement of the conditions of production" (12)..
		She ends with Deren's interest in dance, ritual and play as offering the filmmaker access to the ahistorical, stating that Deren ultimately failed to apply her "onto-esthetic" to her research in Haiti due to the "complex dialectic of power relations among white men, Indians and fls that subtends the rituals of Voudoun" (40).
		As mentioned earlier, Renata Jackson begins "The modernist poetic of Maya Deren" by aligning her approach in "An anagram" to modernist film theory, adding that the upside of such an approach is "close formal analysis" and the development of a language for such an analysis (47-49).
	www.latrobe.edu.au /screeningthepast/reviews/rev0703/ebbr15.html (2400 words)

	Kinoeye\| Avant garde: Kudlacek's In the Mirror of Maya Deren
		The myth of Maya Deren, one of the founders of American experimental cinema after the Second World War, stipulates that she had achieved a "cult" celebrity status with her gorgeous, exotic demeanor, extravagant lifestyle and mysterious occult aura.
		Maya's interest in trance, hypnosis, and possession—which strongly influenced her dream-like experimental shorts—evolved through her father's studies, Dr Salomon Derenkowsky, a child psychiatrist who graduated from the Bekhterev Institute (where Dziga Vertov had conducted several self-experiments in 1916).
		Maya's iconic mermaid characters (though not a feminist in the modern sense, she never gave herself credit as an "actress") are fluid subjects of the spiritual, of the unconscious, of the ever-changing, metamorphosing, "protean" realm.
	www.kinoeye.org /02/20/khrenov20.php (1161 words)

	In the Mirror of Maya Deren
		Deren's death of a brain hemorrhage at the age of 44 has been attributed to everything from her Dr. Feelgood shots to disappoint with the reception of her last film ("The Very Eye of Night") to poverty and starvation.
		Maya Deren was a 60's avant-garde filmmaker who experimented in visions of form and movement on film - except she explored these imaginations in the 40's!
		Deren placed herself as the subject of most of her films and her sultry beauty and remarkably graceful moves are riveting to watch.
	www.reelingreviews.com /inthemirrorofmayaderen.htm (1118 words)

	The Stranger \| Seattle \| Film \| Feature \| Wonderfulness
		Maya Deren was a very beautiful woman, which is certainly why she starred in almost all of her experimental films.
		Deren died of a brain hemorrhage 42 years ago at the age of 44, and the documentary In the Mirror of Maya Deren, by Czech documentarian Martina Kudlacek, offers interviews with Deren's surviving friends, colleagues, and a few of the many lovers she enjoyed during her short life.
		The least interesting thing about Deren's life is her Haiti period, which dominated roughly the last quarter of her life--and so the least interesting part of the documentary is the last quarter, which shows way too much past and present footage of voodoo-addled villagers who were acquainted with or inspired by Deren.
	www.thestranger.com /seattle/Content?oid=15300 (311 words)

	Maya Deren, Dance, and Gestural Encounters in Ritual in Transfigured Time
		Maya Deren is most commonly discussed in relation to the history of avant-garde filmmaking and the significance of her role as a woman working in a male dominated industry (9).
		Examining Deren's work in light of her connections with, and interest in, dance, foregrounds aspects thus far overlooked in critical approaches, such as corporeal performance in her films, the privileged role given to the moving body, and the influence of choreographed performance on the techniques, aesthetic and overall structure of her films.
		Deren's criticism of the domination of the cinema by writing, literary models and adaptations, pre-empts the literary theories of film that went on to dominate cinema studies for a certain period and which have came under criticism themselves.
	www.sensesofcinema.com /contents/02/22/deren.html (3204 words)

	Maya Deren
		Maya Deren is recognizable as the woman with the enigmatic expression at the window, silently observing from within.
		Deren includes another expression of the external invading the internal with a strange wind that surrounds and entrances her as she becomes transported by the ritual.
		Deren's enduring quest to secure financial support for experimental filmmakers during her lifetime was finally answered with the establishment of a grant bearing her name.
	www.sensesofcinema.com /contents/directors/02/deren.html (3677 words)

	Movies Other\| (Site not responding. Last check: 2007-10-14)
		She was the transcendent centerpiece of every red-hot Village party in the late 1940s and early ’50s, a wild-tousled, peasant-bloused 1960s flower child before her time, a Botticelli babe in high bloom with Modigliani almond eyes and matching elongated lips, shaking her booty to Haitian voodoo drums.
		A child of wealthy White Russian—Jewish émigrés (she was born in Kiev), Deren (1917-’61) went to NYU, and, as a Trotskyist activist, got a master’s degree at Smith College.
		The latter, 18 years Deren’s junior, was a Japanese drummer whom Deren married in her New York days.
	www.bostonphoenix.com /boston/movies/film/documents/02692358.htm (623 words)

	Meshes of the Afternoon - Wikipedia, the free encyclopedia
		Meshes of the Afternoon (1943) is a short experimental film directed by husband and wife team Maya Deren and Alexander Hammid.
		Deren and Hammid wrote, directed, and starred in the film.
		The original print had no score; a musical score influenced by classical Japanese music was added by Deren's second husband, Teiji Ito, in 1953.
	en.wikipedia.org /wiki/Meshes_of_the_Afternoon (201 words)

	Harvard Film Archive: Breaking the Mirror: The Films of Maya Deren
		Dancer, ethnographer, philosopher, and “visual poet” Maya Deren (1917—1961) gave birth to the American avant-garde film movement of the postwar era in America, and her work remains key to our understanding of the modern cinema.
		Deren’s advocacy and the example of her own productions were catalytic to the critical recognition of experimental cinema in this country and to the emergence of an entire generation of young practioners who, through the vitality of their work, expanded her singular vision and passion.
		In the striking psychodramas Deren created in the early 1940s with her cameraman husband, Alexander Hammid, she often placed herself in the frame, navigating a path through anxiety-laden Freudian environs, dreamscapes of the seemingly unphotographable.
	www.harvardfilmarchive.org /calendars/03janfeb/deren.htm (729 words)

	Maya Deren
		Maya Deren, pioneering film-maker and 'mother of the avant garde' had a massive influence on film art.
		One is in the reality of the cinematic fact, captured by Maya Deren at that point where the lens cooperates as a prodigious discoverer.
		Maya Deren worked ceaselessly to establish facilities and funding for the independent film movement which subsequently grew up in America.
	www.bringinithome.co.uk /deren.htm (725 words)

	The Name "Maya"
		Maya Katherine Buffett-Davis is also named for Maya Deren, a pioneer of avant-garde and experimental cinema from the middle of the twentieth century.
		Maya is one of those active powers: the constant movement of the universe, pervasive to the atomic level.
		Maya is not a negative force, but can be a mesh through which we perceive the ultimate reality of existence -- if we are not distracted by her magnificent creativeness and complexity.
	www.menlo.com /folks/davis/Maya_Web/Maya_Name.html (1414 words)

	MMI Special Report: Maya Deren Film Weekend in Gradisca, Italy. May 19-20, 2000 (Site not responding. Last check: 2007-10-14)
		Maya Deren’s films were shown at a restored theater called Sala Bergamas in the town of Gradisca north of Venice and introduced by the mayor.
		Deren wrote about film and ethnography and was virtually forgotten after her death in 1961.
		There are several Deren enthusiasts in Italy and the feeling I got from the festival was that her particular filmmaking style is a vital one that is being emulated by young filmmakers.
	www.shoestring.org /mmi_revs/maya-deren-gradisca.html (500 words)

	Michael Potemra on In the Mirror of Maya Deren on National Review Online
		As the title of this documentary — In the Mirror of Maya Deren — suggests, Deren's art was inner-directed, and the mirror is its proper symbol.
		Deren came to the U.S. from Ukraine when she was five; after a brief stint in Hollywood, where Meshes in the Afternoon was made, she moved to New York and became a Greenwich Village celebrity.
		The Deren that comes through in this film is a lovely, robust personality utterly devoted to the act of creation — both in dance and in cinema (which she viewed as a new form of dance, in which the observer, i.e., the camera, moves no less than the performers).
	www.nationalreview.com /potemra/potemra012403.asp (551 words)

	MAYA DEREN 2: At Land
		Maya said she was trying to show the individual's struggle to maintain personal identity in the film, as if from the start she saw the universe opposing our learning who we are and what we are doing here, and the film shows us this from Maya's symbolic birth from the sea through her relentless odyssey
		She first encounters it at the dinner party where she is unable to grasp it as it falls from the scene into a stream of rushing water where she pursues it farther inland.
		Maya never told me whether I was supposed to be dead or dying, nor what I symbolized.
	www.algonet.se /~mjsull/MAYA_DEREN_At_Land.html (703 words)

	Show Business Weekly: Review: Film: In the Mirror of Maya Deren (Site not responding. Last check: 2007-10-14)
		Austrian filmmaker Martina Kudlácek’s feature, In the Mirror of Maya Deren, is the first documentary to explore a seminal figure–artist Mayan Deren–and her contribution to the worlds of experimental film, dance and Haitian Voodoo ritual.
		Even though her troupe was dancing onstage, the audience would be distracted as Deren was possessed by the music, convulsing in her chair, swaying and shaking with abandon.
		Deren started the Creative Film Foundation in the hopes of securing financial support for artists; sadly, she was unsuccessful.
	www.showbusinessweekly.com /archive/210/film_mirror_maya_deren.shtml (769 words)

	MoMA.org \| The Collection \| Maya Deren. Meshes of the Afternoon. 1943
		Deren explained that she wanted "to put on film the feeling which a human being experiences about an incident, rather than to record the incident accurately."
		Made by Deren with her husband, cinematographer Alexander Hammid, Meshes of the Afternoon established the independent avant-garde movement in film in the United States, which is known as the New American Cinema.
		Through her extensive writings, lectures, and films, Deren became the preeminent voice of avant-garde cinema in the 1940s and the early 1950s.
	www.moma.org /collection/browse_results.php?object_id=89283 (264 words)

	Maya
		Deren experimented with Shao-Lin and Wu-Dang kickboxing in "Meditation on Violence," Voodoun ritual dances, and classical ballet with "A Study in Choreography for the Camera."
		Later, Deren was associated with the Katherine Dunham dance troupe.
		Deren not only wrote a respected book on the subject, "Divine Horsemen," she became a convert to Voodoun as well.
	picpal.com /maya.html (633 words)

	Jewish and Israel News from New York - The Jewish Week (Site not responding. Last check: 2007-10-14)
		Maya Deren is frequently called the mother of the American underground film, and it is an honorific she richly deserves.
		Deren was the filmmaker who launched a thousand non-narrative films, here and around the world, and a new documentary on her life helps secure her richly deserved reputation yet again.
		Given this wealth of materials, it is not surprising that “In the Mirror of Maya Deren,” the new film by Austrian filmmaker Martina Kudlacek, is a densely layered, frequently beautiful and always fascinating portrait of a complicated, beguiling and occasionally infuriating artist.
	www.thejewishweek.com /news/newscontent.php3?artid=7304 (672 words)

	St. Petersburg International FIlm Festival "KINODANCE"
		Maya Deren (Eleanora Derenkovskaya), a mother of the American Avant-Garde cinema and dance film as a genre, ethnographer, philosopher and a dancer, was born in Kiev on April 29, 1917.
		Deren’s marriage to Alexander Hammid, a Czech émigré and a filmmaker, gave birth to her first film “Meshes in the Afternoon” that to this day has been one of the most significant works of avant-garde cinema.
		In “In The Mirror of Maya Deren”, Matrina Kudlacek uses footage from Deren’s mesmerizing films along with archival audio interviews from her contemporaries such as experimental filmmaker Stan Brakhage, dance pioneer Katherine Dunham, actress and Living Theatre cofounder Judith Malina, and critics Amos Vogel and Jonas Mekas.
	www.kinodance.com /russia/films_program6_2003.html (428 words)

	The Austin Chronicle Screens: Behind the Screens (Site not responding. Last check: 2007-10-14)
		With her striking beauty, fierce-willed self-promotion, and outspoken pronouncements on the liberation of cinema, Maya Deren is ingrained in the mythology of American experimental film as much for her outsized persona as for her oeuvre of revolutionary films.
		Maya Deren and the American Avant-Garde, a new collection of essays on the connection between that persona and those films, finds theorists -- feminist, postmodernist, psychoanalytical, and bisexual alike -- making heroic bids to claim Deren as their field's very own foremother before grudgingly admitting the rigid, anachronistic singularity of her vision.
		Riddled with delicate contradictions, the legacy of Deren stubbornly refuses to be integrated into any system except her own, which she outlined and revised in forcefully argued texts and college lectures.
	www.austinchronicle.com /issues/dispatch/2001-12-28/screens_roundup5.html (253 words)

	Ladies We Like \|\| Maya Deren (Site not responding. Last check: 2007-10-14)
		Maya Deren (1917-1961), filmmaker Born in Kiev, Russia, in 1917, Eleanora Derenkowsky emigrated to the United States with her parents in 1922.
		Deren became Katherine Dunham's personal secretary and accompanied her on the national tour of Cabin in the Sky (1940-41).
		Deren traveled to Haiti in 1947 to research and film voudoun culture, work that became the basis for her book Divine Horsemen: The Living Gods of Haiti (1953).
	www.ladyfest.org /LadiesWeLike/Deren_Maya.html (429 words)

	ArtandCulture Artist: Maya Deren (Site not responding. Last check: 2007-10-14)
		Yet Deren realized that art film could be more than the citation of other art mediums or the manipulation of dancing shapes across the screen.
		Calling herself a "visual poet," Deren catalogued disparate images and explored their shared relationship to an emotion or symbolic meaning, the latter often left to the audience to ascertain.
		In recognition of her short, unsurpassed legacy, the American Film Institute established the Maya Deren Award in 1985 to honor the contribution and significance of independent film work.
	www.artandculture.com /cgi-bin/WebObjects/ACLive.woa/wa/artist?id=331 (545 words)

	Dark World Non-Fiction (Site not responding. Last check: 2007-10-14)
		This is a ballet of the cosmos, where the dancers are seen entirely in the negative, and in which the dance is the movements of the constellations which cross the night sky.
		Filmed in collaboration with the Metropolitan Opera Ballet School under the direction of Antony Tuder, this is the last film Maya Deren completed before her sudden death.
		Maya Deren is not one who should be mourned, but one who should be admired for her artisitic determination, powerful viewpoints and deep expressions which still live on in her films and in all future filmakers whose works will be influenced by her unique interpretaions and bold style.
	www.darkworld.com /port/literature/community/Non/4pg3.html (539 words)

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