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Im Spiegel Der Maya Deren (2002)

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Utgåvor

Bio USA

2003-01-24 ZEIT

Pressutdrag

"Well researched, detailed examination" (VAR)

"Refreshingly free of postmodernist theorizing and gender-study cant." (NYT)

"A well-wrought introduction not just to Deren but an under-leveraged chunk of the art world." (VILLAGE)

Kuriosa

FAKTA:

Maya Deren (1917-1961) was born Eleanora Derenkovsky in Kiev, the daughter of a Jewish psychiatrist who emigrated to America in 1922, when his daughter was 5. Deren joined the Katherine Dunham dance troupe and traveled with them to Los Angeles in 1942. Her meeting with Czech-born experimental filmmaker Alexander Hammid changed her life, and her name (Hammid explains that "Maya" is the name of a Hindu god). A young woman "possessed by rhythm" (per Dunham), Deren says (in a recording of one of her lectures, which is used as a commentary throughout the film) that "when I got a camera in my hand it was like coming home." She and Hammid collaborated on what is still her most celebrated abstract film, "Meshes in the Afternoon" (1943). Deren also photographed and directed "At Land" (1944), "A Study in Choreography for the Camera" (1945), "Ritual In Transfigured Time" (1946), "Meditation on Violence" (1948) -- which Stan Brakhage avers was her most personal work -- and the uncompleted "Very Eye of Night," a combination of dance and animation. In 1952 she met Japanese composer Teijo Ito, 18 years her junior, who she married in 1960, a year before her death, at age 44, of a cerebral hemorrhage.Her work was inspired by her visits to Haiti, and her interest in voodoo, an art she practiced in later years. Deren emerges as a beautiful, willful, wayward talent with an exceptional vision and a great love for life and for the avant-garde world. (VAR).

FESTIVALPREMIÄR:

Stockholm filmfest 2002 (collage).