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"I make my pictures for what Hollywood spends on lipstick" - Maya Deren

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Filmy Maye Derenovej nás oslobodzujú od štúdií: obdarúvajú naše oči skutočnosťami, ktoré obsahujú hlboký psychologický význam: udávajú našim srdciam takt, tlčie alebo odlieta..
Človek sa ocitá v realite filmových skutočností, ktorí Maya Deren zachytáva v momente, keď objektív spolupracuje ako pozoruhodný objaviteľ. Títo obnova kontaktu medzi filmom a podstatnou časťou jeho výrazových prostreidkov tak otvára mnohé možnosti využitia inteligencie, citlivosti a vynachádzavosti pri tvorbe básní. Poézia je napokon sviatkom, ktorý obohacuje život tých, čo vedia príjmať a chápať očami a srdcom


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S jej schopnosťou jasne snívať a z prúdu podvedomia vytiahnuť to, čo je podctatné, ovláda takúto transkripciu s veľkou šikovnosťou a obrovským citom pre význam pohyblivého obrazu

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Maya Deren is a volumptuous, ripe Alice in her Wonderland of films, a curious kitten floating, scraping and/or swimming through various dreamscapes, the pleasures and pains of the adventure of life, as it seems each encounter with a man in a suit and a record player and chess set and key seems to be seen through these fantastical glasses that is Deren's eyes.
In "At Land", the Venus brew spits out a flesh and blood maiden, neither vulnerable or strong, who spends the next 15 minutes going through various portals (seamlessly edited), every step of her journey creating a solidity towards a deeper understanding.
Deren was one of the few in her day to help pave "experimental" film as a valid expression of art in a world of big budget fluff "pictures". Though her film credentials are tiny compared to the Fellini and Bergman over the sea, Deren was integral in education and support for film and wrote intensely about theory, integrating her hunger for mysticism and philosophy alike in what is the energy, the flame, of film and what makes any artist come alive.
any artist come alive.

It is too easy to say that Deren explored feminist themes or was a strong feminist role model, as any woman who integrates the personal and pioneers in any realm will be pointedly called. In the 1940's housewifery of it all, the way that everyday objects become part of a fantastical landscape, knives & chess pieces become metaphors, the self is divided by purpose and presence and peril, there may be a larger argument to say Deren was a feminist, and so be it. Deren was a feminist. I don't believe that the term reduces her but I do believe that saying she was a "feminist filmmaker" is a bit reductive. She seemed to surpass gender through harboring a true magickal energy, that may have been fairly derived from the nectar of Goddess-divine integrations certainly, but seemed to have moved many, regardless of her anatomy or subject matter. She did not seem determined to prove herself as a woman or to educate anyone on a social matter. She seemed mostly in want to express herself and her point of view. And what a magnificently delicious point of view it was!



Bola prvá, kto ukázal, aký zmyselný a vzrušujúci može byt undergroundový film. Rozsahon neveľká tvorba Maye Derenovej pozostáva bez výnimky z nadčasových diel patriacich ku klasike avantgardného filmu


Films by Maya Deren

Meshes of the Afternoon, by Maya Deren and Alexander Hammid, 1943, 16mm, 14 min.Music by Teiji Ito added 1959.
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Derenovej prvý film z roku 1943, ešte vyslovene vyhlasuje dej za sen. Oči Maye Deren, ktorá tu hrá hlavnú úlohu, sa zatvárajú a dej sa opakuje ako v časovej slučke. Divák je svedkom skúšania rozličných variacií a ich zavrhovania až kým nejaký muž nepobozká spiacu ženu a sen sa neskončí..
Tento film možno opásať ako choreografickú kreáciu Derenovej a kamery..
Derenová nás konfrontuje s priestorovými udalosťami, ktoré si vytvárajú rytmus a umožnuje nám uniknúť pred filmovým klamom..
Inšpirácia Davida Lyncha..


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At Land , 1944, 16mm ,15 min silent. Photographed with the assistance of Hella Heyman and Alexander Hammid.
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Film z roku 1944 v ktorom Derenová mení perspektívu, čas a úrovne reality, až kým sa otázky o mieste a čase nezdajú celkom vedľajšími a bezvyznámnymi. Dokonca aj zápletka, bez ktorej, ako sa zdá sa nezaobíde žiadny,,skutočný,,film, zostáva na polceste..
Film At Land je vytvorený z emocií, zo spomienok na telesné pocity, z čohosi prchavého, čo je nepostihnuteľné rečou, no napriek tomu je to dokonale zrozumiteľné..
At Land je film, o ktorom si myslíme, že ho skor snívame, než vidíme..

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A Study in Choreography for Camera, 1945, by Maya Deren and Talley Beatty, 16mm,4 min., silent.

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Film A Study in Choreography z roku 1945 je Derenovej odpoveď na pompézne filmové arabesky režiséra a choreografa Busbyho Berkeleyho, v ktorej sa redukciou sústreďuje na to, čo je na tanci podstatné.Stredobodom pozornosti nieje ornamentalny mechanizmus, ale samotné hnacie sily, ktoré celý mechanizmus uvádzajú do pohybu..
Keď sa Derenová význava, že vo filme može sve nechať tancovať, tak má na mysli presne vyvesenie sveta z pántov a uvoľnenie, ktoré so sebou prináša..

Jej predstava o pohybe ako meditácií, ktorú skúmala vo svojich choreografiách a ktorá ju neskor priviedla ku kultu vúdu na Haiti, poukazuje na hľadanie, ktorí ju vedie hlbšie, ako je vonkajšia stránka vecí a vypovedá u duchovne, ktoré v čase, ked žila Derenová, vyvolávalo skor údiv ako obdiv..

The Guggenheim grant enabled Deren to finance travel to Haiti to pursue her interest in voodoo.
In Haiti, Deren not only filmed many hours of voodoo ritual, but also participated in them, and adopted the religion.
All of the original film, wire recordings, and notes are held in the Maya Deren Collection at Boston University.
http://www.travelinghaiti.com/haitian_voodoo.asp

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Ritual in Transfigured Time, 1945-46, 16mm, 15 min, silent. With appearances by Rita Christiani and Frank Westbrook. Choreographic collaboration by Frank Westbrook.
Photographed by Hella Heyman.

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Film je kontinuita stanovená na gesto.Tento film začína v domácom prostredí, neskor sa rozvinie v ,,party scene,,a vyvrcholí vo vonkajšom prostredí.
Realistickym aspektom je priebežne sa prepravovať v atmosfére vdaka tanečným rytmom.

Skúma strach z odmietnutia a slobodu vyjadrovania v rituáli opúšťania..
,,Oddestilovanie mysle,, - symbolické kvality su často samé o sebe cieľom nie prostriedkom..

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Meditation on Violence, 1948, 16mm 12 min., sound. Chinese flute and Haitian
drum music arranged by Maya Deren. Performance by Chao-li Chi.

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Tzv, zakrývanie rozdielov medzi krásou a nasilnámi prejavmi..
In Meditation on Violence, Maya Deren captures and recreates a Haitian dancer's intense momentum, editing close-ups and medium shots together well. The three-part structure, where the dancer wears a costume in the 2nd part while he is topless in the 1st and 3rd, adds visual and psychological dynamics


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The Very Eye of Night, 1952-55 (released 1959) 16mm, 15 min., sound. Made in collaboration
with the Metropolitan Opera Ballet School students under the direction
of Antony Tudor. Music by Teiji Ito.

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Na filme spolupracovala s baletnou školou Metropolitnej opery a baletným choreografom Antonym Tudorom. Celý film sa premieta ako fotografia v negatíve..
Once past Maya's macabre films & the sentimental cat film, her primary obsession appears to be dance.
Maya had done a preliminary version of The Very Eye of Night which she completed & never released, perhaps realizing it didn't capture her vision quite right.
It has a scarier look than Eye which seems not to have been intentional. Without the assistance of a world-class choreographer which she had for Eye, Ensemble in the main fails; although, if the finer version had never been made, beside which Ensemble pales, it might've stood as an interesting slightly shoddy experiment.





If I go insane, please don't put your wires in my brain




0080909601300547016306210477530404781880
Lucsia
 Lucsia      26.06.2009 - 15:41:27 [1K] , level: 1, UP   NEW
md
Maya Deren sa narodila 29. apríla 1917 v Kyjeve na ukrajine ako Elena Derenkovskaja.
Jej rodičia emigrovali po sovietskej revolúcii do Los Angeles.
Do roku 1943 tam študovala anglickú literatúru a tancovala u choreografky Catherine Dunham.
V roku 1942 sa vydala za filmara Alexandra Hammida ktory emigroval z Prahy.
Prebudil sa u nej záujem o film . Ako Maya Deren nakrutila roku 1943 spolu s manželom svoj prvý film Meshes of Afternoon.
Tato jej prvotina patri medzi jej najpopularjnejšie prýce.
Derenová o sebe povedala:
,,Bola som priemerná poetka, kym som sa stala filmarkou.,,
v Roku 1945 dokončila študium literatury.
v roku 1947 si prenajala Provincetown Playhouse aby mohla predstavit svoje filmy.
Podujatie malo velky uspech , Derenova svoje filmy financovala a distribuovala sama založila
Creative Film Foundation , prvu nadaciu, ktorá sa venovala podpore filmu nezavisleho od veľkých produkčnách spoločností.
Pracovala ako novinárka, pásala filmovo - teoreticke eseje a zaoberala sa inymi kultúrami.
Podarilo sa jej získať Gugenhaimovo štipendium a v rokoch 1947 - 1951 nakrútila dokumentarny film o vúdú na Haiti.
Dala sa vysvatiť za kňažku vúdú ..

Divine Horsemen: The Living Gods of Haiti
Footage by Maya Deren
Edited by Teiri and Cherel Ito

54 min - 16mm - B&W

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Divine Horsemen: Voodoo Gods of Haiti
prvé obšírne dielo o mytológií vúdu.

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Deren's ethnographic contributions to the study of Haitian Voudoun include not only 20.000 feet of ceremony but recordings of rituals and folk music, a mythological study of the religion--"Divine Horsemen", articles, lectures and television and radio appearances. Her interest in ethnographic dance began in the early 1940's before her filmmaking career was launched, as secretary to choreographer Katherine Dunham. Dunham whose mentor was anthropologist Melville Herskovits had been to Haiti, studied dance and even filmed in 16mm. Through her, Deren met several of her dancers and craftsmen - some of whom were to later collaborate in her films: Talley Beatty, Rita Christiani and lyricist John LaTouche. With access to Dunham's research she wrote an early series of articles about religious possession in dance with a focus on the "personality of the possessed". Later with the publication of "Divine Horsemen " the "individual" is obliterated, serving as a vehicle for the "loa "(gods). This also corresponded with formal concerns in film beginning with "Ritual in Transfigured Time ", where the individual becomes a part of a larger collective consciousness. Deren tackled the interrelationship between magic, science and religion which according to Bronislaw Malinowski was the apex of modernism. This research was interrupted during her early years as a filmmaker and returned to full circle with the Haitian footage and discourse written during the 1940's and 1950's, illustrating a foundation of knowledge that accompanied her as a filmmaker into a Haitian "hounfor "(temple).

Although Deren abandoned a preliminary plan for a film in Haiti it is important to emphasize ceremonial footage shot in Haiti embracing principles of choreocinema. Her initial filmmaking project grew out of a collaboration with Gregory Bateson and inspired by his review of the arrangement of cultural artefacts at the 1946 South Sea Exhibit at the Museum of Modern Art. Bateson compared it to a symphony where themes introduced were picked up in another movement. Deren requested to loan Balinese footage from Margaret Mead and Bateson from their field work of the 1930's to be edited into a "cross-cultural fugue" of Haitian and Balinese ritual and Western children's game. Deren intended to link these three themes as a "cinepoem ""in "choreocinematic " form. In field studies she noted the articulations of a mythical discipline which infused matter with spirit and in order to respect the "ceremonial logic" in representation, abandoned her "cinepoem".

Not long after arriving in Haiti Deren decided on extensive documentation of Haitian Voudoun ceremony. Retakes within this material are extremely rare. On the back of Deren's Bolex was taped "Speed Stop Focus Finder Motor". These prompts allowed her to safeguard shots that could never be redone as she would "shoot to cut " to eliminate post-editing and "plan by eye "- prepare a visual shorthand of the pro-filmic event. The traditional use of footage accompanied by expert witness and testimony was rejected for a film with music. Aware of the potential of documentary film to create a fiction through editing, Deren was determined to represent Voudoun rituals with respect to their mythic origin. With this goal, she was successful which not only the footage but "Divine Horsemen" confirms.

The Haitian footage is housed at Anthology Film Archives, acquired through Grove Press in 1972. Parts 1-4 and 7 were shot in December 1947 and on a later trip in 1949 and parts 5-6 were shot in 1954. Deren wrote that the precedence for filming in Haiti was rare for in those instances in which it was permitted, ceremonies were interrupted by comments or gestures which destroyed the ritual. Because animal sacrifices were forbidden in Haiti, photography had also been discouraged. Although it was unusual for an outsider to be permitted into ceremonies Deren was allowed through her association with Isnard, the houngan (priest) of a "hounfor " (temple) outside Port-au-Prince. She described the major portion of the initial 5.400 ft. footage as an eight day "ceremony caille "- a benediction to the "loa" or deity of the "hounfor". The basic form of the ceremonies was similar so she was able to capture aspects from different perspectives religious drawings made of corn meal, or "vevers", chicken and goat sacrifices offered to the four directions and other ceremonial preparations. There are numerous possessions in a variety of forms where the individual is dressed in the accouterments of the god or in ordinary attire. In addition drumming, singing and forms of prayer are filmed.

"In the second batch of my material", Deren wrote " I concentrated on various dance and ritual movements, many of which photographed in slow motion, with the action of the body clearly delineated." The footage of 1954 contains ceremonies, documentation of Voudoun altars, carnivals and festivals and everyday Haitian life. She wrote of her dedication to this material "sitting over the viewer, the splicer, -so many nights - pushing together shots which would not marry", calling "the creative act fundamentally unreasonable and irrational. . . whenever I tried to 'stop a moment, to isolate it from its context it projected an impression which was not at all what the Haitians meant. In fact it often did not even look like dance - at least dance in the sense in which we think of it. And it became clear to me that certain fundamentals governing ritual had to be established before any specific statements about Haitian dance could be made to make sense. . . dance is only part of the ritual and its form is governed by the larger pattern, rather than being contained in itself. This larger 'logic' is known, rather than constantly 'visible', and for this reason the dance may seem itself formless and anarchic." ( From Deren's notes housed at Boston University Mugar Library, Special Collections)

During visits to Haiti Deren negotiated with several production companies wanting documentaries, projects which for various reasons were canceled. She tried to release her material through grant foundations, production companies and television without success, the largest frustration of her filmmaking career. Insisting on creative control, funding was difficult to obtain. Borrowing editing facilities wherever she could, in her renewal to the Guggenheim she submitted four categories of footage for consideration. "This material has actually two separate values. Until I sat down and carefully went through it to make an outline catalog of the 5.400 feet, I had failed to realize that quite independent of its aesthetic value in relation to my film, it had enormous historical and anthropological value as well. It seems that my ability to establish unusually sympathetic relations with the Haitian country people resulted in the recording of ritual material which had not previously been put on motion-picture film."
( From Deren's notes housed at Boston University Mugar Library, Special Collections)

Failing to acquire renewal on the basis of this intention, Deren tried to illicit anthropological interest in her film. Despite support from Margaret Mead, Gregory Bateson and Melville Herskovits, orthodox anthropologists rejected the footage because she was not a trained observational field worker. And Deren disagreed with them "In effect, sensitivity to form, she wrote provides the artist with a vast area of clues and data that might elude the professional anthropologist whose training emphasized... "scientific" detachment [muffing] his normal sensitivity and responsiveness [and making him] dependent upon the vagaries of informants' memory, intelligence and articulations." (Divine Horsemen) She argued that verbal information even in Western culture is unreliable and would not be sufficient in Haiti "in a language which is largely imagistic and in reference to a religion which is completely couched in ritualist action". (Divine Horsemen) Criticizing the dualism of anthropology, she stated that African cultures are "predicated on the notion that truth can be apprehended only when every cell of brain and body - the totality of a human being is engaged in that pursuit". (Divine Horsemen)

If I go insane, please don\'t put your wires in my brain

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Lucsia
 Lucsia      26.06.2009 - 15:04:56 [1K] , level: 1, UP   NEW
Maya Deren byva označovana za zakladateľku avatgardneho filmu. To je pochopiteľné, lebo jej filmy a predovšekým jej osobnosť boli vďačnámi objektmi zveličovania. Už pred Derenovej filmovou prvotinu z roku 1943 však v USA posobilo viacero iných filmárov, ktorí produkovali filmy nezávisle a neviazaní normami komerčného filmu. Archív, ktorý umožnuje robiť takéto bjavy, založili 30. novembra 1970 filmový nadšenci a režiéri Jerome Hill ( http://en.wikipedia.org/wiki/Jerome_Hill) , P.Adams Sitney ( http://en.wikipedia.org/wiki/P._Adams_Sitney ) , Peter Kubelka ( http://en.wikipedia.org/wiki/Peter_Kubelka ), Stan Brakhage ( http://en.wikipedia.org/wiki/Stan_Brakhage ) a Jonas Mekas ( http://www.jonasmekas.com/ )
Deklarovaným cieľom newyorskeho Anthology Film Archives je dokumentovať bohatstvo a dejiny avantgardneho alebo undergroundoveho filmu. Filmy sa tu nielen zbieraju a reštaurujú, ale aj prezentujú.
Anthology Film Archives v prvých mesiacoch existencie predstavil newyorskemu publiku niektorých najvyznamnejšich predstaviteľov avantgardneho filmu v programoch venovaných takým tvorcom ako sú Hollis Frampton, Ernie Gehr, Marjorie Keller, Robert Beer, Yvonne Rainer, Robert Frank, Alain Robbe-Grillet, Gunvor Nelson, Emile de Antonio, Su Friedrich, Peter Hutton, Warren Sonbert, Francis Lee, Michael Snow či Rudy Burckhardt.
Popri Alexandrovi Hamidovi bol jeden z programov venovaná aj Maye Derenovej.
Jej meno nesie jedno z kín tejto v celosvetovom meradle jedinečnej inštitucie..
http://www.anthologyfilmarchives.org/

If I go insane, please don\'t put your wires in my brain

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SYNAPSE CREATOR
 total trash      10.06.2008 - 00:43:12 [4K] , level: 1, UP   NEW  HARDLINK

Maya Deren was one of the pioneering figures of avant-garde cinema in America and also a noted author, poet, anthropologist, and alternative cultural figure of the 1940s and 1950s. Born Eleanora Derenkovsky in 1917, her family fled Kiev in 1922 to avoid political and economic reprisals brought on by her father’s association with Leon Trotsky. Settling in Syracuse, NY, the family shortened their name to Deren, and Eleanora developed a passionate interest in dance and literature. After receiving degrees in English Literature and Journalism, Deren relocated to Los Angeles, where she worked with the pioneering African-American choreographer Katherine Dunham and wrote an essay on “Religious Possession in Dancing.” After marrying director Alexander Hackenschmied (aka Alexander Hammid), Deren bought a second-hand movie camera and made Meshes of the Afternoon, an award-winning and highly influential experimental film, the first of many she would direct. After adopting the name Maya (taken from the Buddha’s mother), Deren traveled to Haiti, where she began work on a film about the Voudon (or Voodoo) religion, and with the assistance of Joseph Campbell, she wrote a pioneering book on the subject called Divine Horsemen: The Living Gods of Haiti. In the Mirror of Maya Deren is an ambitious documentary which examines the public and personal sides of Deren’s life and work, including interviews with a number of friends and contemporaries, including Katherine Dunham, Stan Brakhage, Judith Malina, Alexander Hammid, and Jonas Mekas. The film also features an original score by noted experimental jazz composer John Zorn.
Quality:
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698 MB
Download:
http://rapidshare.com/files/18067062/im_spiegel_der_MD.part1.rar
http://rapidshare.com/files/18084911/im_spiegel_der_MD.part2.rar
http://rapidshare.com/files/18105831/im_spiegel_der_MD.part3.rar
http://rapidshare.com/files/18123612/im_spiegel_der_MD.part4.rar
http://rapidshare.com/files/18209039/im_spiegel_der_MD.part5.rar
http://rapidshare.com/files/18227203/im_spiegel_der_MD.part6.rar
http://rapidshare.com/files/18244449/im_spiegel_der_MD.part7.rar
http://rapidshare.com/files/18127372/im_spiegel_der_MD.part8.rar