Abstract
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 incompletion functions as part of Deren’s working method and overall aesthetic.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
