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. Influenced by Jean
Cocteau and Marcel Duchamp, she is best known for her seminal film
Meshes of the Afternoon (1943), a dream-like experiment with time
and symbol, looped narrative and provocative imagery, setting the
stage for the twentieth-century's groundbreaking aesthetic
movements and films.
Maya Deren assesses both the filmmaker's completed work and her
numerous unfinished projects, arguing Deren's overarching aesthetic
is founded on principles of incompletion, contingency, and
openness. Combining the contrasting approaches of documentary,
experimental, and creative film, Deren created a wholly original
experience for film audiences that disrupted the subjectivity of
cinema, its standards of continuity, and its dubious facility with
promoting categories of realism. This critical retrospective
reflects on the development of Deren's career and the productive
tensions she initiated that continue to energize film.
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