@book {expcin16007, title = {{\'E}crits sur l{\textquoteright}art et le cin{\'e}ma}, year = {2004}, pages = {120 pp}, publisher = {Paris exp{\'e}rimental}, organization = {Paris exp{\'e}rimental}, address = {Paris}, abstract = {

Contains the translation of "An Anagram of Ideas on Art, Form and Film" (1946) and "The creative use of Cinematography as the reality" (1960). Includes filmography \& bibliography

}, keywords = {Maya Deren}, isbn = {9782912539229}, author = {Maya Deren}, editor = {{\'E}ric Alloi and Julie Beaulieu} } @book {expcin15994, title = {Experimental Cinema: The Film Reader}, year = {2002}, pages = {356 pp}, publisher = {Routledge}, organization = {Routledge}, address = {New York/London}, abstract = {

Brings together key writings on American avant-garde cinema to explore the long tradition of underground filmmaking from its origins in the 1920s to the work of contemporary film and video artists.

}, keywords = {Agn{\`e}s Varda, Andy Warhol, Barbara Hammer, Black cinema, Carolee Schneemann, Chantal Akerman, Female cinema, Gay cinema, Germaine Dulac, Hollis Frampton, Jack Smith, Kenneth Anger, Maya Deren, Michael Snow, Stan Brakhage, Su Friedrich, Trinh T. Minh-ha, Warren Sonbert, Yoko Ono}, isbn = {9780415277877}, author = {Jan-Christopher Horak and Jonas Mekas and Lauren Rabinovitz and Agn{\`e}s Varda and Juan Antonio Su{\'a}rez and Suranjan Ganguly and Jerry Tartaglia and Kate Haug and Reva Wolf and Daryl Chin and Yoko Ono and P.Adams Sitney and Scott MacDonald and Philip Lopate and David Ehrenstein and Peter Gidal and Chris Holmlund and Gloria J. Gibson and Kobena Mercer}, editor = {Wheeler Winston-Dixon and Gwendolyn Audrey Foster} } @book {expcin16095, title = {Le cin{\'e}ma visionnaire: L{\textquoteright}Avant-garde am{\'e}ricaine (1943-2000)}, year = {2002}, pages = {440 pp}, publisher = {Paris Expérimental}, organization = {Paris Expérimental}, address = {Paris}, abstract = {

French translation of the 3rd edition of Visionary Film

Traduit de l{\textquoteright}anglais par Pip Chodorov et Christian Lebrat, avec la collaboration de Vincent Deville et Chloé Donati.

}, keywords = {American Cinema, Christopher MacLaine, Gregory Markopoulos, Jordan Belson, Kenneth Anger, Maya Deren, Michael Snow, Robert Breer, Sidney Peterson, Stan Brakhage}, isbn = {9782912539083}, author = {P.Adams Sitney} } @book {expcin16111, title = {Film at Wit{\textquoteright}s End: Eight Avant-garde Filmmakers}, year = {1989}, pages = {183 pp}, publisher = {Documentext}, organization = {Documentext}, address = {Kingston, New York}, abstract = {}, keywords = {Bruce Conner, Christopher MacLaine, James Broughton, Jerome Hill, Ken Jacobs, Marie Menken, Maya Deren, Sidney Peterson}, isbn = {9780914232995}, author = {Stan Brakhage} } @book {expcin15991, title = {The Avant-garde Film: A Reader of Theory and Criticism}, series = { Anthology film archives}, number = {3}, year = {1978}, pages = {295 pp}, publisher = {New York University Press}, organization = {New York University Press}, address = {New York}, abstract = {

This anthology is both a history of the avant-garde film genre and a compendium of theories of cinema articulated by major filmmakers. The 33 selections include several previously unpublished theoretical and critical articles and many articles that were especially translated into English for this collection. Other selections were drawn from interviews and from lectures contained in the Anthology Film Archives.

}, keywords = {Andy Warhol, Anthony McCall, Antonin Artaud, Ernie Gehr, Germaine Dulac, Hans Richter, Harry Smith, Hollis Frampton, James Broughton, James Whitney, Jean Epstein, John Whitney, Jonas Mekas, Joseph Cornell, Maya Deren, Michael Snow, Paul Sharits, Peter Kubelka, Sergei Eisenstein, Sidney Peterson, Stan Brakhage, Tony Conrad}, isbn = {9780814777930}, author = {P.Adams Sitney and Sergei Eisenstein and Hans Richter and Jean Epstein and Germaine Dulac and Antonin Artaud and Joseph Cornell and Maya Deren and Sidney Peterson and James Broughton and John Whitney and James Whitney and Harry Smith and Carel Rowe and Stan Brakhage and Peter Kubelka and Stephen Koch and Annette Michelson and Michael Snow and Jonas Mekas and Ernie Gehr and Anthony McCall and Paul Sharits and Tony Conrad and Hollis Frampton} } @book {expcin16094, title = {Visionary Film: The American Avant-Garde}, year = {1974}, pages = {479 pp}, publisher = {Oxford University Press}, organization = {Oxford University Press}, address = {New York}, keywords = {American Cinema, Christopher MacLaine, Gregory Markopoulos, Jordan Belson, Kenneth Anger, Maya Deren, Michael Snow, Robert Breer, Sidney Peterson, Stan Brakhage}, isbn = {0-19-501761-7}, url = {https://archive.org/details/Visionary_Film_The_American_AvantGarde}, author = {P.Adams Sitney} } @book {expcin16012, title = {An Introduction to the American Underground Film}, year = {1967}, pages = {326 pp}, publisher = {E.P. Dutton \& Co.}, organization = {E.P. Dutton \& Co.}, address = {New York}, keywords = {Andy Warhol, Branaman, Bruce Baillie, Bruce Conner, Carmen D{\textquoteright}Avino, Charles Eames, Dziga Vertov, Ed Emshwiller, Emlen Etting, Experimental film history, George Kuchar, George Landow, Gregory Markopoulos, Hans Richter, Harry Smith, Jack Smith, James Sibley Watson, Jonas Mekas, Jordan Belson, Ken Jacobs, Kenneth Anger, Lawrence Jordan, Len Lye, Man Ray, Marie Menken, Maya Deren, Melville Webber, Mike Kuchar, Peter Emanuel Goldman, Ralph Steiner, Ren{\'e} Clair, Robert, Robert Breer, Robert Nelson, Ron Rice, Sidney Peterson, Stan Brakhage, Stan VanDerBeek, Tony Conrad}, url = {http://archive.org/details/introductiontoam00rena}, author = {Sheldon Renan} } @book {expcin16009, title = {Experiment in the Film}, year = {1949}, pages = {312 pp}, publisher = {Grey Walls Press}, organization = {Grey Walls Press}, address = {London}, keywords = {Abel Gance, Alexandre Alexeieff, American Cinema, Austrian Cinema, Basil Wright, British Cinema, Carl Dreyer, Cavalcanti, Chester Kessler, David Lean, Ernoe Metzner, Fernand L{\'e}ger, French Cinema, Germaine Dulac, German Cinema, Grahame Tharp, Hans Richter, Jacques Pr{\'e}vert, James Broughton, Jean Epstein, Jean Painlev{\'e}, Jean Renoir, Jean Vigo, Len Lye, Lewis Jacobs, Louis Delluc, Louis Feuillade, Lu{\'\i}s Bu{\~n}uel, Marcel L{\textquoteright}herbier, Maya Deren, Melville Webber, Oskar Fischinger, Paul Rotha, Percy Smith, Pierre Pr{\'e}vert, Ralph Steiner, Ren{\'e} Clair, Robert Florey, Russian Cinema, Sara Arledge, Scientific Cinema, Sidney Peterson, Slavko Vorkapich, Walther Ruttmann}, url = {https://archive.org/details/experimentinfilm00unse}, author = {Jacques B. Brunius and Lewis Jacobs and Grigori Roshal and Roman Karmen and Ernst Iros and Hans Richter and Edgar Anstey and John Maddison}, editor = {Roger Manvell} } @book {expcin16006, title = {An Anagram of Ideas on Art, Form and Film}, series = {Outcast}, volume = {9}, year = {1946}, pages = {52 pp}, publisher = {Alicat Book Shop Press}, organization = {Alicat Book Shop Press}, address = {New York}, abstract = {

{\textquotedblleft}Maya Deren{\textquoteright}s four 16 mm. films have already won considerable acclaim. Convinced that there was poetry in the camera, she defied all commercial production conventions and started to make films with only ordinary amateur equipment. Her first, MESHES OF THE AFTERNOON (1943), was made with her husband Alexander Hammid, whose films{\textendash}FORGOTTEN VILLAGE, CRISIS, HYMN OF THE NATIONS (Toscannini) and others{\textendash}reveal also that devotion to the poetry of vision which formed the common ground of their collaboration. When other work claimed his time, Maya Deren went on by herself{\textendash}conceiving, producing, directing, acting, (being unable to afford actors) photographing (when she was not in the scene) and cutting. Through all the trials of such shoe-string production, which included carrying equipment for miles to the location, she had only assistance of another woman, Hella Heyman, as camerawoman. Yet three more films were made: AT LAND, A STUDY IN CHOREOGRAPHY FOR CAMERA (with Talley Beatty) and RITUAL IN TRANSFIGURED TIME, thus proving that fine films could be made {\textquotedblleft}for the price of the lipstick in a single Hollywood production.{\textquotedblright} Her heroic persistence has just been rewarded by a John Simon Guggenheim Memorial Foundation Fellowship. Moreover, the reputation of the films has spread so that performance at the Provincetown Playhouse were completely sold out and they have also been shown in colleges and museums throughout the country.

In this pamphlet Maya Deren{\textquoteright}s approach to film reflects not the limited scope of a professional craftsman, but a broad cultural background{\textendash}a profound interest not only in esthetics generally and in psychological insight, but in physics and the sciences as well. Russian-born, daughter of a psychiatrist, Maya Deren attended Syracuse University, when she first became interested in film, and received her B.A. from New York University and her M.A. from Smith College, both degrees in literature.{\textquotedblright} (Publisher{\textquoteright}s Note)

}, keywords = {Maya Deren}, url = {https://monoskop.org/log/?p=2665}, author = {Maya Deren} }