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200);this.onload=null;this.rel=\u0026#039;stylesheet\u0026#039;\u0022 \/\u003E\n\u003C\/head\u003E\u003Cbody\u003E\u003Cdiv class=\u0022panels-ajax-tab-panel panels-ajax-tab-panel-profile\u0022\u003E\u003Cdiv class=\u0022one-column at-panel panel-display clearfix\u0022 \u003E\n  \u003Cdiv class=\u0022region region-one-main\u0022\u003E\n    \u003Cdiv class=\u0022region-inner clearfix\u0022\u003E\n      \u003Cdiv class=\u0022panel-pane pane-node-content no-title block\u0022\u003E\n  \u003Cdiv class=\u0022block-inner clearfix\u0022\u003E\n    \n            \n    \n    \u003Cdiv class=\u0022block-content\u0022\u003E\n      \u003Carticle id=\u0022article-11335\u0022 class=\u0022node node-artist article odd node-lang-en node-full 1 ia-r clearfix\u0022 role=\u0022article\u0022\u003E\n  \u003Cdiv class=\u0022article-inner\u0022\u003E\n\n    \n    \u003C!----\u003E\n\n    \n    \n    \u003Cdiv class=\u0022node-content\u0022\u003E\n    \u003Cdiv class=\u0022field field-name-field-featured-image field-type-image field-label-hidden view-mode-full view-mode-full\u0022\u003E\n    \u003Cdiv class=\u0022field-items\u0022\u003E\n          \u003Cfigure class=\u0022field-item\u0022\u003E\n        \u003Ca href=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/mayaderen.jpg\u0022 title=\u0022\u0022 class=\u0022colorbox\u0022 data-colorbox-gallery=\u0022gallery-node-11335-ZKRVwcC7MIE\u0022 data-cbox-img-attrs=\u0022{\u0026quot;title\u0026quot;: \u0026quot;\u0026quot;, \u0026quot;alt\u0026quot;: \u0026quot;\u0026quot;}\u0022\u003E\u003Cimg class=\u0022image-style-wiki-profile\u0022 src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/styles\/wiki_profile\/public\/mayaderen.jpg?itok=Rg03HEQZ\u0022 width=\u0022360\u0022 height=\u0022360\u0022 alt=\u0022\u0022 title=\u0022\u0022 \/\u003E\u003C\/a\u003E                   \n               \n              \u003Cfigcaption class=\u0022caption full-caption\u0022\u003E\u003C\/figcaption\u003E\n                                                        \u003C\/figure\u003E\n      \u003C\/div\u003E\n\u003C\/div\u003E\n\u003Cdiv class=\u0022field field-name-body field-type-text-with-summary field-label-hidden view-mode-full view-mode-full\u0022\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003E\u003Cp\u003E\u003Cstrong\u003EMaya Deren\u003C\/strong\u003E (April 29, 1917, Kiev \u2013 October 13, 1961, New York City), born \u003Cstrong\u003EEleanora Derenkowsky\u003C\/strong\u003E, was an American avant-garde filmmaker and film theorist of the 1940s and 1950s. Deren was also a choreographer, dancer, poet, writer and photographer.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EBiography\u003C\/strong\u003E\u003C\/p\u003E\n\u003Ch3\u003EEarly life\u003C\/h3\u003E\n\u003Cp\u003EDeren was born in Kiev, Ukraine to Solomon Derenkowsky and Marie Fiedler. It is said that she was named after Eleanora Duse, an Italian actress. In 1922, after a series of anti-Semitic pogroms and because of her father\u0027s sympathies for Leon Trotsky, the family fled to Syracuse, New York. Her father shortened the family name to \u0027Deren\u0027 shortly after they arrived in New York. He became the staff psychiatrist at the State Institute for the Feeble-Minded in Syracuse. Her mother moved to Paris to be with her daughter while she attended the League of Nations School in Geneva, Switzerland from 1930 to 1933. In 1928, she became a naturalized citizen of the U.S.\u003C\/p\u003E\n\u003Ch3\u003ECollege\u003C\/h3\u003E\n\u003Cp\u003EDeren began college at Syracuse University, where she became active in the Trotskyist Young People\u0027s Socialist League. Through the YPSL she met Gregory Bardacke, whom she later married at the age of eighteen. After his graduation in 1935, she moved to New York City. She and her husband became very active in various socialist causes in New York City. She graduated from New York University and separated from Bardacke. The divorce was finalized in 1939. She began her studies for a master\u2019s degree in English literature at the New School for Social Research and completed it at Smith College.\u003C\/p\u003E\n\u003Cp\u003EAfter graduation from Smith, Deren returned to New York\u2019s Greenwich Village where she worked as a free-lance secretary. In 1941 she became the personal secretary to choreographer Katherine Dunham. At the end of a tour, the Dunham dance company stopped in Los Angeles for several months to work in Hollywood. It was there that Deren met Alexandr Hackenschmied, a celebrated Czech-born photographer and cameraman who would become her second husband in 1942. Hackenschmied had fled Czechoslovakia after Hitler\u0027s advance. He changed his name at Deren\u0027s behest to \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Alexander_Hammid\/\u0022\u003EAlexander Hammid\u003C\/a\u003E (nickname Sasha) because Deren thought Hackenschmied sounded too Jewish (which he was not).\u003C\/p\u003E\n\u003Ch3\u003ECinema\u003C\/h3\u003E\n\u003Cp\u003EIn the early 1940s, Deren used some of the inheritance from her father to purchase a used \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/16_mm\/\u0022\u003E16 mm\u003C\/a\u003E \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Bolex\/\u0022\u003EBolex\u003C\/a\u003E camera. She used this camera to make her first and best-known film, \u003Cem\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Meshes_of_the_Afternoon\/\u0022\u003EMeshes of the Afternoon\u003C\/a\u003E\u003C\/em\u003E (1943), in collaboration with Hammid. \u003Cem\u003EMeshes of the Afternoon\u003C\/em\u003E is recognized as a seminal American avant-garde film. Originally a silent film with no dialogue, music for the film was composed by Deren\u0027s third husband \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Teiji_Ito\/\u0022\u003ETeiji Ito\u003C\/a\u003E in 1952.\u003C\/p\u003E\n\u003Cp\u003EIn 1943, she adopted the name Maya Deren. Maya is the name of the mother of the historical \u003Ca href=\u0022Buddha\u0022\u003Eas well as the dharmic concept of the illusory nature of reality. In Greek myth, Maia is the mother of Hermes and a goddess of mountains and fields. Also in 1943, Deren began making a film with \u003C\/a\u003E\u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Marcel_Duchamp\/\u0022\u003EMarcel Duchamp\u003C\/a\u003E\u003Ca href=\u0022Buddha\u0022\u003E, \u0027\u0027The Witches\u0027 Cradle\u0027\u0027, which was never completed.\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003EAt that time her social circle included the likes of \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Andr\u00e9_Breton\/\u0022\u003EAndr\u00e9 Breton\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/Marcel_Duchamp\/\u0022\u003EMarcel Duchamp\u003C\/a\u003E, \u003Ca class=\u0022wikilink\u0022 href=\u0022\/wiki\/work\/John_Cage\/\u0022\u003EJohn Cage\u003C\/a\u003E, and Ana\u00efs Nin.\u003C\/p\u003E\n\u003Cp\u003EDeren\u0027s second film was \u0027\u0027At Land\u0027\u0027, which she made in 1944. She made \u0027\u0027A Study in Choreography for the Camera\u0027\u0027 in 1945. \u0027\u0027Ritual in Transfigured Time\u0027\u0027 was made in 1946, which explored the fear of rejection and the freedom of expression in abandoning ritual.\u003C\/p\u003E\n\u003Cp\u003EIn 1946 she was awarded a Guggenheim Fellowship for \u0027Creative Work in the Field of Motion Pictures.\u0027 In 1947 she won the Grand Prix Internationale for 16 mm experimental film at the Cannes Film Festival for \u0027\u0027Meshes of the Afternoon\u0027\u0027.\u003C\/p\u003E\n\u003Cp\u003EDeren\u0027s \u0027\u0027Meditation on Violence\u0027\u0027 was made in 1948. Chao Li Chi\u0027s performance obscures the distinction between violence and beauty. Half way through the film, the sequence is rewound, producing a film loop.\u003C\/p\u003E\n\u003Cp\u003EIn 1958, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create \u0027\u0027The Very Eye of Night\u0027\u0027.\u003C\/p\u003E\n\u003Cp\u003EDeren distributed her own films and promoted them through lectures and screenings in the United States, Canada, and Cuba. She lectured on film theory and Vodoun. She wrote, directed, edited, and performed in her own films.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003ECriticism of Hollywood\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EThroughout the 1940s and 50s, Deren attacked Hollywood for its artistic, political and economic monopoly over American cinema. She stated, \u201cI make my pictures for what Hollywood spends on lipstick,\u201d and observed that Hollywood \u201chas been a major obstacle to the definition and development of motion pictures as a creative fine-art form.\u201d She set herself in opposition to the Hollywood film industry\u2019s standards and practices.\u003C\/p\u003E\n\u003Cp\u003E\u003Cstrong\u003EHaiti and Voodoo\u003C\/strong\u003E\u003C\/p\u003E\n\u003Cp\u003EThe Guggenheim grant enabled Deren to finance travel to Haiti to pursue her interest in voodoo. Dunham wrote her master\u2019s thesis on Haitian dances in 1936, which may have influenced Deren\u2019s interest. In Haiti, Deren not only filmed many hours of voodoo ritual, but also participated in them, and adopted the religion. Her book, \u0027\u0027Divine Horsemen: the Living Gods of Haiti\u0027\u0027 (1953), is considered a definitive source on the subject. However, the accompanying [[Divine Horsemen: The Living Gods of Haiti (film)|documentary remained incomplete in her lifetime and was edited and produced by Teiji Ito and his wife Cherel Winett Ito (1947-1999) in 1981, twenty years after Deren\u0027s death. All of the original film, wire recordings, and notes are held in the Maya Deren Collection at Boston University.\u003C\/p\u003E\n\u003Ch3\u003EDeath\u003C\/h3\u003E\n\u003Cp\u003EDeren died in 1961, at the age of 44, from a brain hemorrhage brought on by extreme malnutrition. Her condition was also weakened by the amphetamines she had been taking since she began working for Dunham in 1941, prescribed by Dr. Max Jacobson. Jacobson was investigated by \u003Cem\u003EThe New York Times\u003C\/em\u003E in 1972 for developing drug dependencies in his patients, and lost his medical license in 1975. Deren was taking amphetamines and sleeping pills on a daily basis when she died. Her father suffered from high blood pressure, which she may have had as well.\u003C\/p\u003E\n\u003Cp\u003EHer ashes were scattered in Japan at \u003Ca href=\u0022Mount\u0022\u003EFuji.\u003C\/a\u003E\u003C\/p\u003E\n\u003Cp\u003EBeyond her death, she seemingly became part of James Merrill\u0027s The Changing Light at Sandover, an epic poem of revelations from the dead obtained by use of a ouija board.\u003C\/p\u003E\n\u003Cp\u003E(Source:Wikipedia)\u003C\/p\u003E\n\u003C\/div\u003E\u003C\/div\u003E\u003C\/div\u003E\u003Csection class=\u0022field field-name-field-nationality field-type-country field-label-inline clearfix view-mode-full view-mode-full\u0022\u003E\u003Ch2 class=\u0022field-label\u0022\u003ENationality:\u0026nbsp;\u003C\/h2\u003E\u003Cdiv class=\u0022field-items\u0022\u003E\u003Cdiv class=\u0022field-item even\u0022\u003EUnited States\u003C\/div\u003E\u003C\/div\u003E\u003C\/section\u003E    \u003C\/div\u003E\n\n          \u003Cnav class=\u0022clearfix\u0022\u003E\u003C\/nav\u003E\n    \n    \n  \u003C\/div\u003E\n\u003C\/article\u003E\n    \u003C\/div\u003E\n\n    \n    \n  \u003C\/div\u003E\n\u003C\/div\u003E\n    \u003C\/div\u003E\n  \u003C\/div\u003E\n\u003C\/div\u003E\n\u003C\/div\u003E\u003Cscript src=\u0022https:\/\/expcinema.org\/site\/sites\/default\/files\/advagg_js\/js__UWPcb-dFIKNMRaI8Dtldc9EKRFR1asHAO8yXpi-RA0Q__FKksr7BiLv_-PIwOA62XSsYR9-TCy3H9SwBNTijA80A__BYJ_raMsbqFpF1SIDoJghyU-ouurldty3Wm9_bVOXTQ.js\u0022\u003E\u003C\/script\u003E\n\u003C\/body\u003E\u003C\/html\u003E"}