Abstract
No abstract availableOriginally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as The International Journal of Screendance, Volume 3 (2013), Parallel Press. It is made available here with the kind permission of Parallel Press.
Highlights
There have been numerous books and articles written on Maya Deren, and Deren herself left us with an abundance of writing that serves as a metric for scholarship based on her film practice
One sphere of influence derives from thinking about Deren as contemporary —the projection of Deren filtered through the lenses of feminist theory, film theory, Freudian analysis, and a host of other literary and cinematic tropes and devices, each of which contribute something to the multi-faceted crystalline figure we call Deren
In this early writing he accuses Deren of intellectual formalism, revealing a patriarchal attitude but advocating a very different, improvisational approach to filmmaking.2. He began to advocate the new film and formulated, in 1960, the first manifesto of the New American Cinema Group, a public statement serving in part to identify the new group of filmmakers as American.3. This was no homogenous group and Maya Deren was conspicuously absent from his reviews—such as the extensive “Notes to the New American Cinema” from 1962.4 Discussing categories such as spontaneous street films, social engagement films, cinematic improvisation and the new documentary frontier, he praised above all “The Pure Poets of Cinema”: Brakhage, Breer, and Marie Menken, the latter a Lithuanian
Summary
Curated by Elinor Cleghorn as part of her PhD research into the relation between the body and technologies in early film practices, the conference demonstrated a significant interest in Deren’s work from UK-based filmmakers and scholars This was complemented by Claudia Kappenberg’s visit to Buenos Aires and discussions on Maya Deren’s influence in South America at the Festival Internacional de Videodanza, which suggested that an issue of the International Journal of Screendance devoted to Deren would be very relevant for the international readership. We hope that readers will find this focus and detailed scholarship inspiring and rewarding
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