Container of (work): Meshes of the afternoon (Motion picture) Container of (work): At land (Motion picture) Container of (work): study in choreography for camera (Motion picture) Container of (work): private life of a cat (Motion picture) Container of (work): Ritual in transfigured time (Motion picture) Container of (work): Meditation on violence (Motion picture) Container of (work): very eye of night (Motion picture) Container of (work): Divine horesemen: The living gods of Haiti (Motion picture)
Notes:
Originally released as films 1943-1977. Special features: audio commentaries on Divine Horsemen, Meditation on Violence, and Ritual in Transfigured Time by film scholar Moira Jean Sullivan ; audio commentaries on At land, Meshes of the afternoon, and The very eye of night by film curator, Thomas Beard ; never-released outtakes from the original soundtrack recording sessions ; Invocation: Maya Deren (1987, a documentary by Jo Ann Kaplan).
Contents:
Meshes of the afternoon (14 min. ; 1943) ; At land (15 min. ;)1944) ; A study in choreography for camera (4 min. ; 1945) ; The private life of a cat (22 min. ; 1946) ; Ritual in transfigured time (15 min. ; 1946) ; Meditation on violence (12 min. ; 1948) ; The very eye of night (15 min. ; 1958) ; Divine horesemen: The living gods of Haiti (15 min. ; 1947-1954, 1977)
Summary:
Along with being a filmmaker, Deren was a choreographer, dancer, film theorist, poet, lecturer and photographer, and she brings all of these disciplines together in her dreamlike and ecstatic films. Her most famous and influential is Meshes of the Afternoon (1943), co-directed with Alexander Hammid, which depicts a surrealist slippage in reality as a woman's home becomes a shifting landscape of beauty and menace.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.