Maya Deren, Imagist

Millsapps, Jan L.
March 1986
Literature Film Quarterly;1986, Vol. 14 Issue 1, p22
Academic Journal
Features the works of filmmaker Maya Deren. Influence of several poets on Deren; Deren's artistic purpose in assembling a collection of objects and events in her movie 'Meshes of the Afternoon;' Difference between images and symbols; Reason for her choice of Freudian-laden objects in 'Meshes in the Afternoon.'


Related Articles

  • Fabric in Film and Film as Fabric: Maya Deren's Meshes of the Afternoon. PETERSON, BECKY // Textile: The Journal of Cloth & Culture;Jul2010, Vol. 8 Issue 2, p226 

    Maya Deren's films employ still and moving fabric in order to articulate the changing relationships among viewer, actor, and director. Deren's use of fiber-based material is an overlooked aspect of her cinematic work. In this essay I explore the parallel between the medium of film--the screen,...

  • THE PERSONAL CINEMA OF MAYA DEREN: MESHES OF THE AFTERNOON AND ITS CRITICAL RECEPTION IN THE HISTORY OF THE AVANT-GARDE. Geller, Theresa L. // Biography: An Interdisciplinary Quarterly;Winter2006, Vol. 29 Issue 1, p140 

    The article focuses on the film "Meshes of the Afternoon," directed by Maya Deren. The films of Deren represents a form of cinematic autobiography. Meshes is a first narrative film had been dominated by abstract representations and formal experiments with animation. Deren's position as a...

  • On Collaboration and Interdisciplinarity: Meshes of the Afternoon. James, Andrew // International Journal of Screendance;Fall2013, Vol. 3, p38 

    The article examines interdisciplinarity and collaboration in writings about experimental filmmaker and avant-garde artist Maya Deren. According to the author, writers on Deren have posited various explanations for the reasons why her films and theories of films have not attracted the critical...

  • Frustrated Climaxes: On Maya Deren's Meshes of the Afternoon and Witch's Cradle. KELLER, SARAH // Cinema Journal;Spring2013, Vol. 52 Issue 3, p75 

    Maya Deren's oeuvre includes several unfinished works. This article considers one of those projects, Witch's Cradle (1943), alongside her most celebrated (and finished) film, Meshes of the Afternoon (1943), to demonstrate how the notion of in-completion functions as part of Deren's working...

  • Going Through the Motions: Journeying through Myth and Ritual in Three Maya Deren Films. Mejia, Daniela // Film Matters;Winter2012, Vol. 3 Issue 4, p28 

    The article presents criticism on three films of director Maya Deren such as "Meshes of the Afternoon," "At Land," and "Ritual in Transfigured Time." The author mentions that the three films focus on the story of female voyage. She explores the ending of "Meshes of the Afternoon" which mimics...

  • THE FILMIC. Edelstein, David // New York;5/17/2010, Vol. 43 Issue 16, p89 

    The article reports on the films by director Maya Deren, including the "Meshes in the Afternoon," as well as other directors like Carolee Schneemann, Barbara Hammer and Su Friedrich that will be featured at the Museum of Modern Art (MoMA) in New York City starting May 15, 2010.

  • CHAPTER 6: The Ethics of Witnessing: MAYA DEREN AND TRACEY MOFFATT.  // Trauma Culture: The Politics of Terror & Loss in Media & Literat;2005, p122 

    Chapter 6 of the book "Trauma Culture: The Politics of Terror & Loss in Media & Literature, 2005" is presented. It says that witnessing has to do with an art work producing a deliberate ethical consciousness. "Meshes of an Afternoon," by Maya Deren is one of the films that was discussed in the...

  • The Impulse to Preserve. GARDNER, ROBERT // Beyond Document: Essays on Nonfiction Film;1996, p169 

    The author reflects on the essence of making nonfiction films. The author comments on films that had influence on him, including those by Maya Deren and Basil Wright. He also looks back at his own filmmaking in countries such as India and New Guinea. The significance of meeting a filmmaker's...

  • Ethnographie, culture et expérimentations: essai sur la pensée, l'Å“uvre et la légende de Maya Deren. Beaulieu, Julie // Cinemas;Fall2008, Vol. 19 Issue 1, p15 

    More than a filmmaker, Maya Deren was an avant-garde anthropological artist and a feminist before her time. She was also a poet and theorist whose writings are still little-known today. At the heart of her artistic project, which led her as far afield as Haiti, lies depersonalization, the basis...


Read the Article


Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics