{"id":158,"date":"2017-05-16T06:46:54","date_gmt":"2017-05-16T14:46:54","guid":{"rendered":"https:\/\/www.annhuang.com\/blog\/?p=158"},"modified":"2017-10-07T14:59:13","modified_gmt":"2017-10-07T22:59:13","slug":"poetry-film-maya-deren","status":"publish","type":"post","link":"https:\/\/www.annhuangpoetry.com\/blog\/2017\/05\/16\/poetry-film-maya-deren\/","title":{"rendered":"Poetry & Film Fuse in the Works of Maya Deren"},"content":{"rendered":"

\"Meshes<\/a><\/p>\n

One of the most influential filmmakers in American cinema and a pioneer in dance films, Maya Deren (1917-1961) believed the function of film was to offer a viewer an experience that would evoke new conclusions. As with her poetry, Deren\u2019s focus continually evolved and remained dynamic as she combined her interests in subjective psychology, dance and Haitian culture in her short films. Deren\u2019s best-known and most influential experimental film, Meshes of the Afternoon<\/em><\/a> (1943), beautifully combines poetic elements with cinematic devices. In 2015, the BBC<\/a> hailed it as one of the top 100 greatest American films. Deren\u2019s popular cinematic works also include At Land<\/em>, Ritual in Transfigured Time<\/em>, Meditation in Violence<\/em>, and A Study in Choreography for Camera.<\/em><\/p>\n

Maya Deren best expressed her view of the freedoms of independent cinema when she said, “Artistic freedom means that the amateur filmmaker is never forced to sacrifice visual drama and beauty to a stream of words…to the relentless activity and explanations of a plot…nor is the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes…Instead of trying to invent a plot that moves, use the movement of wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.”<\/em><\/p>\n

\u2018Meshes of the Afternoon\u2019 and its Influence<\/h1>\n

Using a second-hand Bolex camera, Deren and husband Alexander Hammid created Meshes of the Afternoon<\/em>. It was the first narrative work in avant-garde American film, establishing the New American Cinema. The editing and filming techniques used in the short have a deep sense of rhythm and create a sense of continued motion through discontinued space, conveying a deeper meaning of discomfort and distrust. The abandoning of the concepts of space and time in the film, the juxtaposition of shots, and multiple views of \u201cself\u201d convey a stream of consciousness that breaks viewer expectations.<\/p>\n

Compelling themes throughout Deren\u2019s work include reflection, dreaming, vision, ritual, identity and rhythm. Meshes of the Afternoon<\/a><\/em> directly inspired David Lynch, John Coney, Su Friedrich, Stan Brakhage, Kenneth Anger and other major traditional and experimental filmmakers.<\/p>\n

Deren on the Freedoms of Independent Cinema<\/h2>\n

When discussing the liberties of independent cinema, Deren was opposed to Hollywood\u2019s practices and standards. She felt that artistic freedom meant never sacrificing visual beauty and drama to spoken lines and explanations of plot. Deren took advantage of movements that happened naturally\u2014the wind blowing, balls bouncing, water running\u2014rather than invent plots. She stated that when an artist uses his or her freedom to experiment with visual ideas, mistakes are forgiven.<\/p>\n

At the 1953 Poetry and Film Symposium, Deren stated that poetry \u201cis an approach to experience.\u201d She explained that a poem\u2019s structure makes it distinct. Its construct is the result of a situation\u2019s vertical investigation, as it looks into a moment\u2019s implications, qualities and depth. Deren stated that the result is poetry that doesn\u2019t focus on what\u2019s happening, but on how a situation feels or means.<\/p>\n

Filmmaker and Poet, Ann Huang, has long been inspired by the Deren\u2019s works. Cinematic and poetic visions influenced her first film, Palpitations of Dust<\/em><\/a>. Reviews received from a film festival\u2019s screening committee further support that Huang\u2019s work reflects the freedom ideas promoted by Maya Deren:<\/p>\n

\n

“Interesting juxtaposition of the actors and artwork with the poems.”<\/em><\/p>\n

“Loved the dichotomy of the Renaissance art with the visuals of the film.”<\/em><\/p>\n<\/blockquote>\n

Surrealists suggest that art is a part of life. Therefore, it is vital that filmmaking be viewed as pure and keen as automatic writing or poetry writing. Poetry, filmmaking and other forms of art make the invisible, undocumented moments in an individual\u2019s life tangible. For example, these moments are eloquent yet mysterious, wise yet innocent, and charismatic yet elusive. The portion of existence that survives without an audience must be preserved for an artist to remain whole.<\/p>\n","protected":false},"excerpt":{"rendered":"

One of the most influential filmmakers in American cinema and a pioneer in dance films, Maya Deren (1917-1961) believed the function of film was to offer a viewer an experience that would evoke new conclusions. As with her poetry, Deren\u2019s focus continually evolved and remained dynamic as she combined her interests in subjective psychology, dance […]<\/p>\n","protected":false},"author":1,"featured_media":161,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10,28,22,12],"tags":[31,32,29,33,30,39,5,6,13],"class_list":["post-158","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-experimental-poetry","category-poetry-film","category-poetry-language","category-surrealist-poetry","tag-ann-huang","tag-independent-cinema","tag-maya-deren","tag-meshes-of-the-afternoon","tag-palpitations-of-dust","tag-poetry","tag-poetry-form","tag-poetry-structure","tag-surrealism"],"_links":{"self":[{"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/posts\/158","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/comments?post=158"}],"version-history":[{"count":6,"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/posts\/158\/revisions"}],"predecessor-version":[{"id":219,"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/posts\/158\/revisions\/219"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/media\/161"}],"wp:attachment":[{"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/media?parent=158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/categories?post=158"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.annhuangpoetry.com\/blog\/wp-json\/wp\/v2\/tags?post=158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}