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Film Description
Features four films: A Study in Choreography for the Camera (1945), Ritual in Transfigured Time (1946), Meditation on Violence (1946), and The Very Eye of Night (1952-55).
"In this film, I have attempted to place a dancer in a limitless, cinemato-graphic space. Moreover, he shares, with the camera, a collaborative responsibility for the movements themselves. This is, in other words, a dance which can exist only on films The movement of the dancer creates a geography that never was. With a turn of the foot, he makes neighbors of distant places. Being a film ritual, it is achieved not in spatial terms alone, but in terms of a time created by the camera." - Maya Deren on A Study in Choreography for the Camera, 1945
Moira Sullivan Maya Deren Forum on 10th February 2003
Maya Deren left a body of work --a 'dance film' heritage. Gene Kelley consulted her about her work. A Study in Choreography for Camera liberates the dancer from the s... more >
Maya Deren left a body of work --a 'dance film' heritage. Gene Kelley consulted her about her work. A Study in Choreography for Camera liberates the dancer from the stage, a first in film. Ritual in Transfigured Time concerns a tribal dance that is a ritual. After these film she went to Haiti to study the rituals of Voudoun. Meditation on Violence reveals her immersion in a system of Divine Principle. The movement of the Wu Tang and the Shaolin is choregraphed as an eternal loop. The Very Eye of Night symbolizes her awareness of 'the abyss' where one plunged to the depth in the creative process. All in all the films are 'dances' that enter the fourth dimension.
