Maya Deren and the American Avant-Garde (häftad)
Häftad (Paperback / softback)
Antal sidor
Deas on Art, Form, a ed.
University of California Press
38 b-w photographs
230 x 155 x 25 mm
580 g
Antal komponenter
Maya Deren and the American Avant-Garde (häftad)

Maya Deren and the American Avant-Garde

Includes the Complete Text of 'An Anagram of Ideas on Art, Form, and Film'

Häftad Engelska, 2001-10-01
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Regarded as one of the founders of the postwar American independent cinema, the legendary Maya Deren was a poet, photographer, ethnographer, filmmaker and impresario. Her efforts to promote an independent cinema have inspired filmmakers for over fifty years. "Meshes of the Afternoon" (1943) ranks among the most widely viewed of all avant-garde films. The eleven essays gathered here examine Maya Deren's writings, films, and legacy from a variety of intriguing perspectives. Some address her relative neglect during the rise of feminist film theory; all argue for her enduring significance. The essays cast light on her aesthetics and ethics, her exploration of film form and of other cultures, her role as (woman) artist and as film theorist. "Maya Deren and the American Avant-Garde" also includes one of the most significant reflections on the nature of art and the responsibilities of the filmmaker ever written - Deren's influential but long out-of-print book, "An Anagram of Ideas on Art, Form and Film", in its entirety. Among the topics covered in this volume are Deren's ties with the avant-garde of her day and its predecessors; her perspective on vodoun ritual, possession ceremonies, and social harmony; her work in relation to the modern dance tradition and its racial inflections; her thoughts, written in the shadow of Hiroshima and Nagasaki, about science, including how form can embody moral principles; the complex issue of the 'woman artist' in an avant-garde dominated by men; her famous dispute with Anais Nin; and, an exploration of issues of identification and desire in her major films. As the first critical evaluation of the enduring significance of Maya Deren, this book clarifies the filmmaker's theoretical and cinematic achievements and conveys the passionate sense of moral purpose she felt about her art. It is a long-overdue tribute to one of the most important and least written about filmmakers in American cinema, an artist who formulated the terms and conditions of independent cinema that remain with us today.
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Övrig information

Bill Nichols holds the Fanny Knapp Allen Chair of Fine Arts and is Professor of Art and Art History at the University of Rochester where he teaches in the Visual and Cultural Studies doctoral program. He is the author of Blurred Boundaries (1994), Representing Reality (1991), Movies and Methods (California, 1976 and 1985), and Ideology and the Image (1981).


List of Illustrations Preface Acknowledgments Introduction, Bill Nichols A. Deren's Work and the Arts B. Deren's Writings and Film Theory C. Deren's Films and Their Form 1. The Historical Lens Poetics and Savage Thought: About Anagram, Annette Michelson The Modernist Poetics of Maya Deren, Renata Jackson Aesthetic Agencies in Flux: Talley Beatty, Maya Deren, and the Modern Dance Tradition in Study in Choreography for Camera, Mark Franko "The Eye for Magic" Maya and Melies, Lucy Fischer 2. In the Eyes of Her Contemporaries The Ethics of Form: Structure and Gender in Maya Deren's Challenge to the Cinema, Maureen Turim Moving the Dancers' Souls, Ute Holl Maya Deren's Ethnographic Representation of Ritual and Myth in Haiti, Moira Sullivan 3. The Terms of Her Legend and Legacy Maya Deren Herself, Catherine M. Soussloff Maya Deren, Jane Brakhage Wodening Seeing Double(s): Reading Deren Bisexually, Maria Pramaggiore Maya Deren and Me, Barbara Hammer Appendix: An Anagram of Ideas on Art, Form and Film Maya Deren List of Contributors Index