Posts Tagged: Maya Deren
Maya Deren at 100
“I am not greedy. I do not seek to possess the major portion of your days…”
Aimless Walk
Alexander Hammid’s film follows an unidentified man through Prague, although the camera is largely disengaged from the expected multitudes and monuments, instead following this enigmatic flaneur to the liminal spaces of the city.
Aimless Walk
Alexander Hammid’s film follows an unidentified man through Prague, although the camera is largely disengaged from the expected multitudes and monuments, instead following this enigmatic flaneur to the liminal spaces of the city.
Places: 1466 N Kings Road
If you’re quick (and rich, and ready to resettle) you can pick up one of the most illustrious settings in the history of experimental film, the location of Maya Deren and Alexander Hammid’s 1943 film Meshes of the Afternoon.
Places: 1466 N Kings Road
If you’re quick (and rich, and ready to resettle) you can pick up one of the most illustrious settings in the history of experimental film, the location of Maya Deren and Alexander Hammid’s 1943 film Meshes of the Afternoon.
In the Mirror of Maya Deren
Using film extracts, original interviews and audio recordings of her subject, Kudláček demonstrates the extent to which poetry, dance, ritual and filmmaking were indivisible elements of Deren’s art.
In the Mirror of Maya Deren
Using film extracts, original interviews and audio recordings of her subject, Kudláček demonstrates the extent to which poetry, dance, ritual and filmmaking were indivisible elements of Deren’s art.
Take zero
It’s a reckless gambit for any director to describe his film as “90 minutes of nonsense” but that’s how Italian filmmaker Davide Manuli labels his feature La leggenda di Kaspar Hauser, which premiered in Rotterdam.
Take zero
It’s a reckless gambit for any director to describe his film as “90 minutes of nonsense” but that’s how Italian filmmaker Davide Manuli labels his feature La leggenda di Kaspar Hauser, which premiered in Rotterdam.
Witch’s Cradle
A bafflingly unexplored moment in Maya Deren’s early career, one which unites her with the most revolutionary artist of the 20th century as well as its most important patron.
Witch’s Cradle
A bafflingly unexplored moment in Maya Deren’s early career, one which unites her with the most revolutionary artist of the 20th century as well as its most important patron.
Review: Maya Deren’s Sink
The actress who “plays” Deren had herself made a short film about the filmmaker, and at times unnervingly recalls the original (which is fortunate, as I can imagine look-alike agencies are not bursting with impersonators of mid-century avant-garde film artists).
Review: Maya Deren’s Sink
The actress who “plays” Deren had herself made a short film about the filmmaker, and at times unnervingly recalls the original (which is fortunate, as I can imagine look-alike agencies are not bursting with impersonators of mid-century avant-garde film artists).
Three shows
So just for a moment I am going to imagine that Strange Flowers readers have funds as limitless as their curiosity and suggest a trio of attractions in different European locations.
Three shows
So just for a moment I am going to imagine that Strange Flowers readers have funds as limitless as their curiosity and suggest a trio of attractions in different European locations.
The rhythm divine
Deren became fascinated by voodoo, which embodied multiple overlapping interests which she had already explored in film, including dance, ritual and altered states of consciousness. Choreographer Katherine Dunham described her as “possessed by rhythm”.
The rhythm divine
Deren became fascinated by voodoo, which embodied multiple overlapping interests which she had already explored in film, including dance, ritual and altered states of consciousness. Choreographer Katherine Dunham described her as “possessed by rhythm”.
XIIDX day 5: film poetry
Looking at Harry Smith’s early experiments in filmmaking a few weeks ago made me want to go back and explore other American pioneers of the form
XIIDX day 5: film poetry
Looking at Harry Smith’s early experiments in filmmaking a few weeks ago made me want to go back and explore other American pioneers of the form
Strange Flowers 