Maya Daren: Maya Deren

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Maya Daren Throughout the 1940s and 50s, Maya Deren supported the artistic freedom, and especially the idea of non-fetishization of the woman figure, which sets herself in opposition to the feature production of the “male-controlled Hollywood film industry” (Rabinovitz), and it's artistic, political and economic monopoly over the American cinema. Hence, she is one of the most influential figures in the American post-war development of the personal, independent film. (Kay and Peary) Her entrepreneurial vision grew evident as she screened and distributed her films in the United States, Canada, and Cuba. In 1946, she was awarded a Guggenheim Fellowship for Creative Work in the Field of Motion Pictures, and won the Grand Prix Internationale for…show more content…
However, they are not faster enough, and they can never catch up to it. The slow motion in these scenes exacerbates the sense of frustration and helplessness. The hooded figure represents “a women’s difficulty in separating from their mothers, consolidating their identity, and coming to terms with their sexuality … a desperate yearning for her mother represented in the pursuit of the mirror-faced figure, and a self-destructive identification with her dead father, expressed through her final suicide .” (Fabe 141,150) Yet At Land, the 15 minutes experimental film co-produced with John Cage and Alexander Hammid, has little connection with the inner world; it expresses the hidden dynamic of the external world. Thus, the drama results from the activity of the outer world. Driving more to an environmental psychologist's perspective, At Land focuses "on the character's exploration of her subjectivity in her physical environment, inside as well as outside her subconscious, although it has a similar amorphous quality compared to her other films. (Nichols…show more content…
The 52 minutes documentary of Haitian Vodou ceremony reflects her interest is anthropology. The film captures the rituals of Rada, Petro and Congo cults, in which the deities known as Ioa, take possession of their devotees. The use of fade-in transition between scenes, slow-motion editing, as well as panning and close-up following the dancer’s movement in hand-held camera, emphasizes the mystique

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