Abstract
No abstract availableThis article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 3 (2013), Parallel Press. It is made available here with the kind permission of Parallel Press.
Highlights
An expansive interest in dance guided Maya Deren’s ambitions even before she began to make films
In Deren’s longest and most complex statement of film theory, An Anagram of Ideas on Art, Form, and Film, published that same year, she describes her reasons for shooting an action in this fashion: When a fast turning is reduced by slow-motion, it still looks natural, and merely as if it were being performed more slowly; the hair, moving slowly in the lifted, horizontal shape possible only to rapid tempos, is unnatural in quality
Deren attempts the kind of shot she describes here first in her climb up a ladder of driftwood in At Land,10 but such an effort gains complexity as it unfolds in Ritual in Transfigured Time. Deren appears, turning her head in slow motion while she vivaciously talks and winds yarn with the character played by Rita Christiani
Summary
An expansive interest in dance guided Maya Deren’s ambitions even before she began to make films.
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