DOCSLIB.ORG

Essential Deren Collected Writings on Film 1St Edition Download Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

ESSENTIAL DEREN COLLECTED WRITINGS ON FILM 1ST EDITION DOWNLOAD FREE Maya Deren | 9780929701653 | | | | | PDF Download With over 30, translations, including everyday idioms and expressions, Essential Dutch Dictionary is the perfect tool to support your Dutch learning. A great collection of Maya Deren's writings. The surviving fragments reveal themes that recur throughout Deren's films: the artist's role, the influence of nature, and a fascination with ritual. Add to Basket Used Softcover. The limited specialization of being only one thing—"Be yourself! Matt rated it Essential Deren Collected Writings on Film 1st edition was amazing Jan 24, This is a fascinating book. More information about this seller Contact this seller 1. At Land shows Deren Essential Deren Collected Writings on Film 1st edition across a dining table, oblivious to the diners. Get A Copy. DIVLogical, developmental presentation includes all the necessary tools for speech and comprehension and features numerous shortcuts and timesavers. Regarded as one of the founders of the postwar American independent cinema, Maya Deren was a poet, photographer, ethnographer and filmaker. Return to Book Page. By the way, this undeniable shortcoming of geology was one of the essential points leading to the initiation of rock mechanics. In Ritual in Transfigured Time Deren experiments with slowed footage of two wind-swept women immersed Essential Deren Collected Writings on Film 1st edition ritualized wool looming. It takes a few different forms, but generally involves skepticism. Download our mobile app for on-the-go access to the Jewish Virtual Library. Seller Inventory MV. Zamyslov, Dokl. Our BookSleuth is specially designed for you. But as I said, this wheel has many sturdy spokes and travels far. It was originally silent, but Deren added a soundtrack to it in Condition: Fine. Condition: VeryGood. Couverture souple. Does the relationship between the woman in the film played by Deren and the man in the film played by Hammid reflect her vocational difficulties? Essential Deren. We make a list together of how these similar items relate to each other. I had always believed and felt this, but never had I known how right I was. Hammid plays a considerable role here, as does Teiji Ito, whose score was added about fifteen years after Meshes of the Afternoon was finished. Tolkien; Italo Calvino; Helen M. All Rights Reserved. Softcover wenige Abb. About this Item: Documentext, New York, To ask other readers questions about Essential Derenplease sign up. Arsham is a film editor and was a close friend to Deren and Hammid. About this Item: Promedia, Wien, The book continues with three chapters that are each occupied with a different architectural style and the films that make use of it: the bungalow, the modernist house, and the shingle style house. Add to Basket Used. Entirely independant, she screened her work in her own living room, set up a distribution network and presented lectures on her films across the United States, Cuba Essential Deren Collected Writings on Film 1st edition Canada. It offers a particular focus on those areas of grammar German elementary learners might find problematic with German language support in the grammar descriptions and explanations and translation exercises to raise learners' awareness of the differences between German and English. Essential Deren: Collected Writings on Film contains all of Deren's essays on her own films as well as more general essays on film theory, the relation of film to dance, various technical aspects of Until now, Maya Deren's essays on the art and craft of filmmaking have not been available in a comprehensive volume equally handy for students, film enthusiasts, and scholars. McPherson Kingston, N. Maya Deren, Used Rhodes considers a variety of canonical films rarely analyzed side by side, such as Psycho in relation to Grey Gardens and Meet Me in St. Published by Gotham Book Mart About this Item: Promedia, Wien, Unread book in perfect condition. Mummery, Ann. From: Moksha Antiquariat Konstanz, Germany. Presenting a fresh and accessible description of the language, this engaging grammar uses clear, jargon-free explanations and sets out the complexities of German in short, readable sections. Methods for intracellular free cal cium contents and calcium channel activity have been developed and contribute to the study of the role of the calcium ion in arterial smooth muscle contractility. Published by Verlag promedia Wien This book will be particularly welcomed by the large audience that saw Martina Kudlacek's documentary, Essential Deren Collected Writings on Film 1st edition the Mirror of Maya Deren," during its theatrical release in the U. Cinema is, after all, often about everyday life. Feb 24, Opos Remor rated it it was amazing. Documentext paperback edition with Essential Deren Collected Writings on Film 1st edition cover. Good Condition. In these Essential Deren Collected Writings on Film 1st edition Deren guides the aspiring filmmaker and informs the interested viewer of her work. Each chapter discusses and reframe current issues, as a means of promoting and enriching dialogue within the Essential Deren Collected Writings on Film 1st edition community of dance and the moving image. Reprinted in Essential Deren : Collected I like to have them do this in smaller groups and then share their diagrams by drawing them on the board so we can all see them, add to them, and argue for how the groupings should come together. Seller Inventory GOR The limited specialization of being only one thing—"Be yourself! A great collection of Maya Deren's writings. More information about this seller Contact this seller 6. May have some shelf wear from being out in store. I disagree with a vast majority of her conclusions, but like any good film theory book, they're always thought-provoking and inspiring. Essential Deren. To mark her untimely death the American Film Institute established the Maya Deren Award to inspire independent film and video artists. Preview — Essential Deren by Maya Deren. Sarah rated it really liked it Jul 28, Keep shopping. The artistic collaboration between Deren and Hammid finds its distorted reflection in the vision of the film's tormented female protagonist. Published by Documentext, New York This new edition is fully updated with a guide to usage and insights from the author to help you learn and remember new words and phrases. With over 30, translations, including everyday idioms and expressions, Essential Dutch Dictionary is the perfect tool to support your Dutch learning. For her whole working life, Deren struggled against the norms of a male dominated industry and art form. Frequently, doubts about the value of non-linear, non-causal, non-narrative forms accompany this response. Essential Deren: Collected Writings on Film The artistic collaboration between Deren and Hammid finds its distorted reflection in the vision of the film's tormented female protagonist. Trivia About Essential Deren Second, these few facts underline the notion of cinema both as a singular creative act by a visionary artist and, simultaneously, as a collaborative process. Rhodes tells the story of the ambivalent but powerful pleasure we take in looking at private property onscreen, analyzing the security and ease the house promises along with Essential Deren Collected Writings on Film 1st edition horrible anxieties it produces. With Essential Deren Collected Writings on Film 1st edition emphasis on the German native speakers use today, German: An Essential Grammar will help students to read, speak and write the language with greater confidence. Great inspiration for anyone engaging in creative activities of any kind. Investigation of the molecular mechanisms controlling the cellu lar basis of calcium ion action has been established with the discovery of the calcium binding protein Ebashi Minor wear; text block edges lightly spotted; previous owner's name on the first page. Kevin Bjorke rated it liked it Feb 09, Welcome back. Softcover wenige Abb. Sarah rated it really liked it Jul 28, More information about this seller Contact this seller Documentext paperback edition with different cover. Dustwrapper lightly edgeworn. Sections on Deren Published by Paladin, St Albans, Herts Download our mobile app for on-the-go access to the Jewish Virtual Library. Reprinted in Essential Deren : Collected You know the saying: There's no time like the present Usually I teach it in undergraduate classes where, more often than not, students have had very limited if any exposure to experimental films—or films by women, for that matter—or black-and-white films from any year before the new millennium, or etc. More information about this seller Contact this seller 7. Just as a single diamond may have various facets which we perceive "Actually, a man who has a single, true self is not the very model of integrity; he is simply a one-dimensional creature, which is one-step worse than being a square. Condition: Very Good. So I had always been doing with my camera… nudging an ever-increasing area of the world, making it move, animating it, making it live… The love of life itself… seems to me larger than the loving attention to a life. Topics addressed embrace politics of the body; agency, race, and gender in screendance; the relationship of choreography to image; constructs of space and time; representation and effacement; production and curatorial practice; and other areas of intersecting disciplines. Emett rated it it was amazing Oct 15, Adele rated it really liked it Essential Deren Collected Writings on Film 1st edition 15, He reads the film as a culmination of Deren's abiding interest in modernism and her intense engagement in socialist politics. About this Item: Gotham Book Mart, The film has influenced not only the subsequent history of experimental film, but also on the work of Hollywood auteurs. Jul 25, Alex rated it it was amazing.
Recommended publications
  • Video History Project

    Video History Project

    VIDEO HISTORY PROJECT We have been working on the VIDEO HISTORY PROJECT for about five years. It has a varied pedigree - Ralph's long love of old machines; 30 years of work at the Center; teaching A Natural History of Video at Visual Studies Workshop's Summer Institute; concern for reclaiming the history of our medium; an appreciation ofthe transitory nature of human beings and the fragility of the materials which they use to record their thoughts and feelings; a desire to preserve these traces - both tape and apparatus; a love of tools and images; the enthusiasm of friends and co-workers willing to become engaged in this endless work. It is a project with several faces. It is about research, and the collecting and organizing of information which locates and documents media history resources - tapes, artists' instruments, writings and ephemera. It is about sharing information and reaching out to new audiences, about increasing awareness of how and where to find the artworks, and helping to create contexts in which the work can be more widely presented and appreciated . It is about strengthening preservation efforts to rescue deteriorating tape-based works, so there will always be something to see. It is about coming together to celebrate our field, to learn from each other, to discover parallels and intersections between early activities and contemporary practice. To continue the conversations. The conference, VIDEO HISTORY: MAKING CONNECTIONS, is a way to celebrate our history, and to renew a commitment to saving the stories, memories and works which have come out of the last 30 years of experimentation .
  • Edited at EAI”: Dara Birnbaum Screening and Conversation with Media Artistdara Birnbaum and Editors Matt Danowksi, Pat Ivers and Ann Volkes

    Edited at EAI”: Dara Birnbaum Screening and Conversation with Media Artistdara Birnbaum and Editors Matt Danowksi, Pat Ivers and Ann Volkes

    "Edited at EAI”: Dara Birnbaum Screening and Conversation with media artistDara Birnbaum and editors Matt Danowksi, Pat Ivers and Ann Volkes Please join us fora special evening featuring media artist Dara Birnbaum in conversation withformer EAI editors Matt Danowski, Pat Ivers, and Ann Volkes, moderated by LoriZippay. Birnbaum, one of the most important and influential artists working invideo and multi-media installation, will discuss the creative processessurrounding analogue video editing and EAI's “laboratory-studio” atmosphere ofthe early 1980s with editors whom she worked with at EAI. A selection ofBirnbaum's video works from that period, including Pop-Pop Video: Kojak/Wang (1980); the rarely seen New Music Shorts (1981), with musiciansRadio Fire Fight and Glenn Branca; Remy/GrandCentral: Trains and Boats and Planes (1980); Fire!/Hendrix (1982), and PMMagazine/Acid Rock (1982), will be screened and discussed in depth. Organized in conjunction with EAI's45th anniversary, the "Edited at EAI" series highlights ahistorically significant but less well-known area of EAI's programs: EAI'sEditing Facility for artists, one of the first such creative workspaces forvideo in the United States. Thursday, September 22, 2016 6:30pm Electronic Arts Intermix 535 West 22nd Street, 5th Fl. New York, NY 10011 www.eai.org Admission $7, Students$5 Free for EAI Members RSVP: [email protected] Dara Birnbaum’s groundbreaking video works of the late 1970s and early 1980s, including Technology Transformation/Wonder Woman (1978) and Pop Pop Video (1980), were distinctive in their use of popular television as source material and appropriation as a strategy to deconstruct and reassemble meaning.
  • Amos Vogel Papers, 1896-2001 (Bulk Dates: 1960-1990) MS#1432

    Amos Vogel Papers, 1896-2001 (Bulk Dates: 1960-1990) MS#1432

    Amos Vogel Papers, 1896-2001 (Bulk Dates: 1960-1990) MS#1432 ©2009 Columbia University Library SUMMARY INFORMATION Creator Amos Vogel, 1921- Title and dates Amos Vogel Papers, 1896-2001 (Bulk Dates: 1960-1990) Abstract This collection documents the professional work of film critic, professor, and author, Amos Vogel. The bulk of the records are concerned with numerous films that Vogel has screened for Cinema 16, the independent film society that he founded and directed for sixteen years, as well as administrative records, correspondence, photographs, and printed material. Size 63.4 linear feet (145 document boxes, 1 half-size box, 6 index card boxes, 1 flat box, 1 record box, 4 oversized folders) Call number MS# 1432 Location Columbia University Butler Library, 6th Floor Rare Book and Manuscript Library Amos Vogel Papers 535 West 114th Street New York, NY 10027 Language(s) of material Collection is predominantly in English; materials in German are indicated at the subseries level. Biographical Note Independent film in New York City has had several champions throughout its lifetime; one of the most vocal and committed being film critic and historian, Amos Vogel. Vogel, with his wife Marcia, has spent a lifetime promoting independent film and filmmakers, first through their non- profit membership organization, Cinema 16, and later as director of the New York Film Festival under the umbrella of Lincoln Center. Amos Vogel (neé Vogelbaum) was born in Vienna Austria, on April 18, 1921. His mother, Matel, was a kindergarten teacher and his father, Samuel, a lawyer. According to an interview by Scott MacDonald, Vogel had always shown an interest in the cinema, frequenting many screenings and was a member of a large film society in Vienna.
  • STEINA Born in 1940, Reykjavík, Iceland (Steinunn Briem Bjarnadóttir) Lives and Works in Santa Fe, NM

    STEINA Born in 1940, Reykjavík, Iceland (Steinunn Briem Bjarnadóttir) Lives and Works in Santa Fe, NM

    STEINA Born in 1940, Reykjavík, Iceland (Steinunn Briem Bjarnadóttir) Lives and works in Santa Fe, NM Bio Steina (b. 1940) is a pioneering video artist who has been producing work since the 1960s. She moved from Reykjavík to Prague in 1959 to study the violin and there met her husband, the filmmaker Woody Vasulka. In 1965 they relocated to New York where Steina gradually came to focus on electronic media and video art. With Woody, she began showing video art, and in 1971 they founded The Kitchen, which has been a powerful force in shaping a cultural landscape in the US. It was among the very first American institutions to embrace the emerging fields of video, performance, and cross-disciplinary explorations. An internationally acclaimed institution, the Kitchen is one of New York’s oldest and most active nonprofit art centers, and has helped launch the careers of many artists who have gone on to worldwide prominence. Together they also worked to develop the Center for Media Studies at the State University of New York in Buffalo. Although Steina and Woody have often collaborated in their art, Steina’s own approach has resulted in an extensive body of work, which includes both video art and performances. She often uses the violin to create not only sound but also images by manipulating the signal through electronic means. Steina’s work has a strong lyrical quality, which is perhaps most clearly expressed in her series of multi-screen video installations using images of landscapes in Iceland and New Mexico, where she and Woody settled in 1980.

  • Jonas Program.Qxd (Page 1)

    Dia Center for the Arts and Electronic Arts Intermix present Joan Jonas Film and Video Work, 1968-76 Thursday, September 28, 2000 7:30 pm This program of film, video, and audio performance celebrates the work of Joan Jonas, bringing together her rarely screened early work from 1968-76. This program of film and video is framed by Jonas's never-before-screened color video footage of the performance Glass Puzzle, 1973. 30 minutes, color, sound camera: Babette Mangolte music: The Liquidators with: Lois Lane and Joan Jonas This complex and enigmatic work, which is performed by Jonas and lois lane, explores female gestures, the body, and narcissism. Mirroring each other with synchronized movements as they perform as alter egos, Jonas and lane refer- ence archetypal female gestures and poses from popular and traditional cul- tures. Throughout the performance, space is dislocated and altered as a formal devicesegmented by a swinging bar, superimposed in layers, transformed by subtle. changes in light and shadow, or flattened by the video screen. This work was inspired by E. J. Bellocq's photographs of New Orleans's prostitutes dating to the beginning of the century. Wind, 1968 16mm film, 5:37 minutes, b/w, silent; courtesy of Electronic Arts Intermix camera: Peter Campus edited by Peter Campus and Joan Jonas In this recently restored performance film, Jonas focuses on a group of per- formers moving through a stark, windswept landscape. The stylized motions in the silent, black-and-white film evoke early cinema, while the content locates it in the spare Minimalism of the late 1960s.
  • Joan Jonas Film and Video Work, 1968-76 Thursday, September 28, 2000 7:30 Pm

    Joan Jonas Film and Video Work, 1968-76 Thursday, September 28, 2000 7:30 Pm

    Dia Center for the Arts and Electronic Arts Intermix present Joan Jonas Film and Video Work, 1968-76 Thursday, September 28, 2000 7:30 pm This program of film, video, and audio performance celebrates the work of Joan Jonas, bringing together her rarely screened early work from 1968-76. This program of film and video is framed by Jonas's never-before-screened color video footage of the performance Glass Puzzle, 1973. 30 minutes, color, sound camera: Babette Mangolte music: The Liquidators with: Lois Lane and Joan Jonas This complex and enigmatic work, which is performed by Jonas and lois lane, explores female gestures, the body, and narcissism. Mirroring each other with synchronized movements as they perform as alter egos, Jonas and lane refer- ence archetypal female gestures and poses from popular and traditional cul- tures. Throughout the performance, space is dislocated and altered as a formal devicesegmented by a swinging bar, superimposed in layers, transformed by subtle. changes in light and shadow, or flattened by the video screen. This work was inspired by E. J. Bellocq's photographs of New Orleans's prostitutes dating to the beginning of the century. Wind, 1968 16mm film, 5:37 minutes, b/w, silent; courtesy of Electronic Arts Intermix camera: Peter Campus edited by Peter Campus and Joan Jonas In this recently restored performance film, Jonas focuses on a group of per- formers moving through a stark, windswept landscape. The stylized motions in the silent, black-and-white film evoke early cinema, while the content locates it in the spare Minimalism of the late 1960s.
  • Nam June Palk -T.V

    Nam June Palk -T.V

    ~ You are cordially invited to the opening vof an exhibition of recent work by Nam June Palk -T.V. sea Electronic Art IV- 6 on Tuesday evening, January 15,1974 Galeria Bonino 7 West 57 New York 100 /4"o -+ ID C U " V, tv, C2 TM in ~ IM I QOM z6-BZ-NdV august lo . 1984 wiesbaden . dear frignd DAAD (deutsche akademische I austaugch dien-t) and I am compiling an anthology on Sattelite and art titled "Good Morning Mr . Orwell 1 , sattelite & art (1977_1984 and beyond) . It will have three sections 1) Good Morning Mr . Orwell 2) Art & sattelite ( 1977_1984) 3) "Enquete : If I had a million dollars for a new sattelite project. I would like to invite you to contribute a short essay on 3) If I had a, million dollars for a new sattelite project. We must have your essay delivered to Berlin by , . .so that it comes out on Nov.28 1984 (There will be a big Crwell conference in Berlin on that day) ? C fJ'tV- ) If possibl e , please use a very dark typewriter libbon ,aso tht we can just photocopy it . .(in case your manuscript arrives too late for a typesetting The Language can be any language you choose . it will not be translated into English. We are aiming to publish a source book, which will become important historically, but not fancy. (I hate those fat & heavy catalogues, which nobody reads these days .) We have no money for honorarium but we have my print ( 3 colors serigraph) (limited edition of 2CO, signed) , which honorarium .
  • 1. Leslie Thornton 3. Education 1992 Arabic Language Courses, New

    1. Leslie Thornton 3. Education 1992 Arabic Language Courses, New

    1. Leslie Thornton 3. Education 1992 Arabic Language Courses, New School for Social Research 1976 Special Student, Film, Graduate Level, MIT 1974-76 MFA, The Hartford Art School 1973 Special Student, Harvard University 1971-73 BFA, Magna Cum Laude, SUNY/Buffalo. 1969-71 Tufts University, undergraduate 4. Teaching 2000-present Full Professor, Modern Culture and Media, Brown University 1998-2000 Associate Professor, Modern Culture and Media, Brown University 1997-1998 Assistant Professor, Modern Culture and Media, Brown University 1984-1997 Senior Lecturer, Modern Culture and Media, Brown University 1982-84 Assistant Professor, Film, San Francisco State University 1981-82 Lecturer, Film Production and Studies, CUNY/ Staten Island 1979 Visiting Artist, one semester, Trinity College 1978 Instructor, Film Production, University of Bridgeport 1975-76 Adjunct Faculty, The Hartford Art School 4a. Other: Professional Appointments See: 7. (ii). Service Activities in the field. These lists are co-extensive. 5a. (Research) Artist’s Works: Films, Videos, Installations, Digital Photography, Online Projects 2010 —Binoculars (video installation) 2009 —((((( ))))) (9 minutes, color, HD video) —Dead Nature (photographic series) —The Word for Melancholy (video loop) —BOB-BOB (video loop) 2008 —Novel City (7 minutes, color, video) —Horror Film One: Shanghai Blue (online photographic serial) —Interstices (photographic installation) 2007 —The Expiration (2 minutes, color, video)* —Minus 9 (installation format) —Sahara Mojave (version two, 12 minutes, color,
  • Oral History Interview with Dara Birnbaum, 2017 May 30-31

    Oral History Interview with Dara Birnbaum, 2017 May 30-31

    Oral history interview with Dara Birnbaum, 2017 May 30-31 Funded by the Pollock-Krasner Foundation. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Dara Birnbaum on May 30 and 31, 2017. The interview took place at Birnbaum's studio in New York, NY, and was conducted by Linda Yablonsky for the Archives of American Art, Smithsonian Institution. This transcript has been reviewed by Linda Yablonsky and Dara Birnbaum, and lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview LINDA YABLONSKY: This is Linda Yablonsky interviewing the artist Dara Birnbaum in her home studio in New York City—it is May 30, 2017—for the Archives of American Art, Smithsonian Institution. Hi, Dara. DARA BIRNBAUM: Hi. LINDA YABLONSKY: Thank you for doing this. I’ve always been interested in your work, and this is quite a great opportunity for me. You were born in 1946, so that makes you 71 now? DARA BIRNBAUM: I’m 70. LINDA YABLONSKY: Seventy? DARA BIRNBAUM: Yeah. [Laughs.] LINDA YABLONSKY: Okay, so we are more or less the same age. So we have something of a shared history, but you grew up in New York City, is that right? DARA BIRNBAUM: Yes, I did. LINDA YABLONSKY: In what kind of family? I mean, did you have siblings? DARA BIRNBAUM: I have one sibling.
  • Ciné-Danse: Histoire Et Singularités Esthétiques D'un Genre Hybride

    Ciné-Danse: Histoire Et Singularités Esthétiques D'un Genre Hybride

    Ciné-danse : histoire et singularités esthétiques d’un genre hybride Sophie Geneviève Walon To cite this version: Sophie Geneviève Walon. Ciné-danse : histoire et singularités esthétiques d’un genre hybride. Musique, musicologie et arts de la scène. Université Paris sciences et lettres, 2016. Français. NNT : 2016PSLEE026. tel-01535420 HAL Id: tel-01535420 https://tel.archives-ouvertes.fr/tel-01535420 Submitted on 8 Jun 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. THÈSE DE DOCTORAT de l’Université de recherche Paris Sciences et Lettres PSL Research University Préparée à l’École normale supérieure Ciné-danse : Histoire et singularités esthétiques d’un genre hybride Screendance: History and Aesthetic Singularities of a Hybrid Genre École doctorale n°267 Arts & médias Université Sorbonne Nouvelle – Paris 3 et École normale supérieure Spécialité : Arts (études cinématographiques) SOUTENUE PAR : COMPOSITION DU JURY : Sophie Walon M. Vincent Amiel Université Paris 1 – Panthéon Sorbonne le 9 décembre 2016 Président du jury Mme Martine Beugnet Université
  • REŻYSERKI KINA Tradycja I Współczesność

    REŻYSERKI KINA Tradycja I Współczesność

    REŻYSERKI KINA tradycja i współczesność Pod redakcją Małgorzaty Radkiewicz © Copyright by the authors and for this edition by RABID, Kraków 2005 Wydanie I Wydawca : Rabid Kraków, ul. Kobierzyńska 101/2 tel. 0601 413365, tel./fax (12) 2662549 [email protected] www.rabid.pi Korekta: Roman Włodek Skład: Marek Preizner Druk: Ekodruk, Kraków, ul. Konfederacka 4 Projekt okładki: Monika Pitrus Zdjęcie na okładce: Lidia Krawczyk i Wojciech Kubiak Publikacja dotowana przez: - Wydział Zarządzania i Komunikacji Społecznej UJ - Instytut Sztuk Audiowizualnych UJ ISBN 83-88668-94-3 REŻYSERKI KINA tradycja i współczesność Pod redakcją Małgorzaty Radkiewicz Kraków 2005 Spis treści 7 Małgorzata Radkiewicz: Od redaktorki Sylwetki 1 1 Andrzej Pitrus: Su Friedrich: anektowanie przestrzeni 21 Małgorzata Radkiewicz: J u l i e Dash - prekursorka kina Czarnych kobiet 35 Alicja Helman: Trzy kolory według Miry Nair 47 Elżbieta Wiącek : Samira Machmalbaf - między rzeczywistością a fikcją 69 Anna Nacher: Jodie Foster - negocjatorka po drugiej stronie kamery 83 jo anna Malicka: Filmowa „rozgrywka z Austrią" Jessiki Hausner 93 Krzysztof Loska: Marleen Gorris w świecie kobiet 107 Magdalena Tomkowicz : Kobieca trylogia Laetitii Masson 127 Grażyna Stachówna: Lilia chce wyjść za mąż. Z miłością, Lilia Łarisy Sadilowej 135 Barbara Kita: Miłość, macierzyństwo i... - czyli o jednym filmie Léi Pool 149 Anna Taszycka: Siostra Geneta, czyli o debiucie Nancy Meckler Nurty i kinematografie 163 Elżbieta Ostrowska: Kobiecy głos w niemym kinie 179 Urszula Tes: Maya Deren wśród artystek awangardowych: Shirley Clarke i Yvonne Rainer 193 Jadwiga Głowa: Andrea Majstorovic, Helena Trestikova, Olga Sommerovâ - czeskie do- kumentalistki a społeczeństwo 217 Grzegorz Bubak: Węgry na przełomie wie­ ków, fascynacja zmieniającą się rzeczywi­ stością.
  • Looking Again at Maya Deren: How the 'Mother of Avant-Garde Film' Was a Socially Conscious 'Judaised Artist'

    Looking Again at Maya Deren: How the 'Mother of Avant-Garde Film' Was a Socially Conscious 'Judaised Artist'

    Looking Again at Maya Deren: How the ‘Mother of Avant-Garde Film’ was a Socially Conscious ‘Judaised Artist’ Alexander (Hammid) Hackenschmied, Maya Deren, nedatováno, silver gelatin print source: http://www.artnet.com/artists/alexander -hammid-hackenschmied Ariele Hoffman Submitted in total fulfillment of the requirements of the degree of Master of Arts (Research) April, 2015 School of Historical and Philosophical Studies The University of Melbourne Produced on archival quality paper Abstract Russian-Jewish filmmaker, Maya Deren, known as the ‘mother of avant-garde film’, lived and worked in Greenwich Village, New York, from the 1930s until her death in 1961. Deren produced experimental films, wrote for a variety of magazines on her philosophy of art and civilisation, lectured around the United States, Canada and South America and established the Creative Film Foundation, a pioneering organisation that supported independent film-makers in America. Beyond being an educator and interested in film-art, Deren’s oeuvre revealed a strong social conscience. Leading up to her career in film, Deren’s poetry, photography, her Masters Thesis in English Literature, and her role as assistant to anthropological dancer Katherine Dunham and to prominent political activist and writer, Max Eastman, all evinced strong social components. I argue therefore that Deren is more than an experimental film-maker; she is a socially conscious artist. Following Deren’s immigration to New York with her family at age five, to escape anti-Semitic pogroms, she continued to spend her childhood and teenage years both escaping forms of anti-Semitism and on a continuous search for belonging. Deren’s work was coloured by this search and desire to navigate social and cultural alienation, resulting in an endeavor to create and promote morally responsible art that enabled civilisational progress and, most significantly, unity.