Maya Deren: influences, peers and legacy

Every connection with its receipt

Maya Deren built American experimental film out of European surrealism, Caribbean ritual and modern dance, insisting that cinema was not storytelling but experience. This mix traces her two careers — the filmmaker of Meshes of the Afternoon and the dancer-ethnographer who spent years documenting Haitian Vodou — and the downtown New York avant-garde she practically organized single-handedly.

The Kynda mix for Maya Deren

• Key Influence · The Blood of a Poet by Jean Cocteau (1930). Cocteau's poet-film, with its mirrors used as doorways, corridors traversed in dream-logic and a body that keeps meeting itself, is the clearest precursor to Meshes of the Afternoon. Deren screened and lectured on European avant-garde cinema throughout the 1940s and argued film should create experience rather than report it; Cocteau's refusal of narrative causality in favor of ritual recurrence gave her a working model, even as she rejected his Freudian reading of dreams.','
• Influencia Obscura · Rose Hobart by Joseph Cornell (1936). Cornell, the Queens recluse of boxes and found footage, moved in the same tiny New York circle; Deren knew him and his work, and he contributed to and collaborated around her films, with Deren appearing in Cornell-related footage of the period. His re-editing of a Hollywood melodrama into a blue-tinted trance about a single woman's gaze anticipates Deren's own somnambulist heroines and her conviction that image sequence alone makes meaning.','
• Local Roots · Glimpse of the Garden by Marie Menken (1957). Menken was Deren's close contemporary in the Greenwich Village avant-garde, a fellow woman filmmaker working with a hand-held Bolex when the field was overwhelmingly male. The two circulated through the same lofts, Cinema 16 screenings and artist gatherings in 1940s–50s Manhattan; Menken's lyrical camera-as-body approach shares Deren's belief that the instrument's movement, not the subject, carries the poem.','
• Beyond the Medium · Dances of Haiti by Katherine Dunham (1947). Deren worked as Dunham's secretary and assistant on her touring dance company in the early 1940s, and that job rerouted her life: Dunham's anthropological fieldwork on Haitian ritual dance led Deren to Haiti in 1947 on a Guggenheim, to years of Vodou documentation and to the book Divine Horsemen. Dunham's fusion of ethnography and choreography is the hinge between Deren the poet and Deren the filmmaker of ritual.','
• Peer · Fireworks by Kenneth Anger (1947). Anger made Fireworks at seventeen and entered the same tiny American experimental circuit Deren had built, sharing programs, festival juries and Creative Film Foundation attention in the late 1940s and 1950s. Both made short, intensely personal trance films centered on a dreaming protagonist, and both treated ritual and myth as cinema's proper subject — Anger toward occult ceremony, Deren toward Vodou.','
• From the Canon · Meshes of the Afternoon by Maya Deren (1943). Made in Los Angeles for a few hundred dollars with her husband Alexander Hammid, this fourteen-minute trance film is the founding text of American experimental cinema: a woman pursued by a mirror-faced figure through a house whose stairs, knife and key keep recurring. Its discontinuous editing invents what Deren called the creation of time and space that exists nowhere but in the film itself.','
• Key Collaborator · Crisis: A Film of the Nazi Way by Alexander Hammid (1939). Hammid, the Czech-born cameraman Deren married in 1942, co-directed and shot Meshes of the Afternoon and performs in it; his technical fluency made her first films possible. Before emigrating he co-made this documentary on the Nazi dismemberment of Czechoslovakia with Herbert Kline, work that shows the mobile, observational camera eye he brought to the Deren household and to their shared invention of the trance film.','
• Legacy · Anticipation of the Night by Stan Brakhage (1958). Brakhage met Deren in New York in the 1950s, stayed in her apartment, received support through her Creative Film Foundation and spoke of her for decades as the central figure who made his vocation imaginable. Anticipation of the Night pushes her subjective camera and discontinuous montage past the trance film into pure first-person vision, the direct line from Meshes to American lyrical cinema.','

What influenced Maya Deren

• Katherine Dunham (1909). Dunham's fieldwork influenced Deren's studies. (also via Divine Horsemen: The Living Gods of Haiti, Dances of Haiti) “Dunham's fieldwork influenced Deren's studies of Haitian culture and Vodou mythology .” (Wikipedia)
• Mão Morta by Mão Morta. Mão Morta provided musical accompaniment for four of Deren’s short films. “para os Mão Morta acompanharem musicalmente uma obra cinematográfica, numa produção comissariada por Dario Oliveira, e que recaiu sobre quatro curtas-metragens da realizadora norte-americana Maya Deren, pioneira do cinema experimental.” (Amplificasom)
• Gregory Bateson. Deren studied Bateson's footage while planning her next film. “She had studied ethnographic footage by Gregory Bateson in Bali in 1947, and was interested in including it in her next film.” (Wikipedia)
• Dances of Haiti by Katherine Dunham (1947). Dances of Haiti (Katherine Dunham) — culture for Maya Deren “In 1941, Deren wrote to Katherine Dunham—an African American dancer, choreographer, and anthropologist of Caribbean culture and dance—suggesting a children's book on dance and applying for a managerial job for her and her dance troupe; s…” (en.wikipedia.org)
• Nadja by André Breton (1928). Nadja (André Breton) — culture for Maya Deren “In 1944, back in New York City, her social circle included Marcel Duchamp, André Breton, John Cage, and Anaïs Nin.” (en.wikipedia.org)
• Kurt Koffka. Deren studied gestalt psychology under Kurt Koffka. “She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou , symbolist poetry and gestalt psychology (as a student of Kurt Koffka ) in a series of perceptual, black-and-white short films.” (Wikipedia)
• The Life and Death of 9413: a Hollywood Extra by Robert Florey (1928). The Life and Death of 9413: a Hollywood Extra (Robert Florey) — ghost for Maya Deren (themoviedb.org)
• The Blood of a Poet by Jean Cocteau (1930). The Blood of a Poet (Jean Cocteau) — titan for Maya Deren (themoviedb.org)
• Tell My Horse by Zora Neale Hurston (1938). Tell My Horse (Zora Neale Hurston) — culture for Maya Deren (openlibrary.org)
• Un Chien Andalou by Luis Buñuel (1929). Un Chien Andalou (Luis Buñuel) — titan for Maya Deren (themoviedb.org)
• Rose Hobart by Joseph Cornell (1936). Rose Hobart (Joseph Cornell) — ghost for Maya Deren (themoviedb.org)
• Battleship Potemkin by Sergei Eisenstein (1925). Battleship Potemkin (Sergei Eisenstein) — titan for Maya Deren (themoviedb.org)

Peers and kindred spirits

• Anaïs Nin by Anaïs Nin. The film description identifies Deren and Nin as performers in the same film. “Set across social gatherings, interiors, and gardens, among other locations, Ritual in Transfigured Time (1946, silent, 15 minutes) features Deren herself along with Rita Christiani, Frank Westbrook, and Anaïs Nin as players within a loo…” (Sabzian)
• Marcel Duchamp. Duchamp participated with Deren in her film The Witch's Cradle. “A collaboration between Maya Deren and Marcel Duchamp, THE WITCH'S CRADLE is an unfinished film consisting of a choreographed set of movements between the figures (played by Marcel Duchamp and Pajorita Matta) and the camera.” (Light Cone)
• Alexander Hammid. Deren and Hammid made Meshes of the Afternoon together. (also via Crisis: A Film of the Nazi Way) “This camera was used to make her first and best-known film, Meshes of the Afternoon (1943), made in collaboration with Hammid in their Los Angeles home on a budget of $250.” (Wikipedia)
• Fireworks by Kenneth Anger (1947). Fireworks (Kenneth Anger) — peer for Maya Deren “== Legacy == Deren was an inspiration to other avant-garde filmmakers such as Curtis Harrington, Stan Brakhage, and Kenneth Anger, who emulated her independent, entrepreneurial spirit.” (en.wikipedia.org)
• Metropolitan Opera Ballet School. Deren collaborated with the school on The Very Eye of Night. “Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create The Very Eye of Night .” (Wikipedia)
• Social Problems Club. Deren belonged to the Social Problems Club. “She served as National Student Secretary in the National Student office of the Young People's Socialist League and was a member of the Social Problems Club at Syracuse University.” (Wikipedia)
• John Cage. Cage was part of Deren's New York social circle. “In 1944, back in New York City, her social circle included Marcel Duchamp , André Breton , John Cage , and Anaïs Nin .” (Wikipedia)
• William Seabrook. Deren worked as Seabrook's editorial assistant. “During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton , Max Eastman , and then William Seabrook .” (Wikipedia)
• Teiji Ito by Teiji Ito. Hammer identifies Ito as the composer of the soundtrack for Deren’s film. “When Tavia played her flute I couldn't help but hear refrains from her father, who composed the soundtrack for Meshes of the Afternoon .” (International Documentary Association)
• Antony Tudor. Deren and Tudor collaborated on The Very Eye of Night. “Between 1952 and 1955, Deren collaborated with the Metropolitan Opera Ballet School and Antony Tudor to create The Very Eye of Night .” (Wikipedia)
• Eda Lou Walton. Deren worked as Walton's editorial assistant. “During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton , Max Eastman , and then William Seabrook .” (Wikipedia)
• Max Eastman. Deren worked as Eastman's editorial assistant. “During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton , Max Eastman , and then William Seabrook .” (Wikipedia)
• The Connection by Shirley Clarke (1961). The Connection (Shirley Clarke) — collaborator for Maya Deren “In 1955, she became a member of the Independent Filmmakers of America and was part of a circle of independent filmmakers in Greenwich Village such as Maya Deren, Stan Brakhage, Jonas Mekas, and Lionel Rogosin.” (en.wikipedia.org)
• Hella Heyman. Heyman worked as Deren's camerawoman on her films. “Deren went on to make several more films, including but not limited to At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with…” (Wikipedia)
• Creative Film Foundation. Deren created the Creative Film Foundation. “She then created a scholarship for experimental filmmakers, the Creative Film Foundation.” (Wikipedia)
• Young People's Socialist League. Deren held a student leadership position in the league. “She served as National Student Secretary in the National Student office of the Young People's Socialist League and was a member of the Social Problems Club at Syracuse University.” (Wikipedia)
• Joseph Campbell. Campbell edited Deren's book. (via Divine Horsemen: The Living Gods of Haiti) “She documented her knowledge and experience of Vodou in Divine Horsemen: The Living Gods of Haiti (New York: Vanguard Press, 1953), edited by Joseph Campbell , which is considered a definitive source on the subject.” (Wikipedia)
• Teiji Itō. Teiji Itō edited and produced the posthumous documentary. (via Divine Horsemen: The Living Gods of Haiti) “The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti , edited and produced in 1977 (with funding from Deren's friend James Merrill ) by her ex-husband, Teiji Itō (1935–1982), and his w…” (Wikipedia)
• Cherel Winett Itō. Cherel Winett Itō helped edit and produce the documentary. (via Divine Horsemen: The Living Gods of Haiti) “The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti , edited and produced in 1977 (with funding from Deren's friend James Merrill ) by her ex-husband, Teiji Itō (1935–1982), and his w…” (Wikipedia)
• Subterraneans. Subterraneans made soundtracks for Deren films in a project for which At Land won a sound-design prize. (via At Land) “In 2004, the British rock group Subterraneans produced new soundtracks for six of Deren's short films as part of a commission from Queen's University Belfast 's annual film festival . At Land won the festival prize for sound design.” (Wikipedia)
• Glimpse of the Garden by Marie Menken (1957). Glimpse of the Garden (Marie Menken) — geography for Maya Deren (themoviedb.org)
• Crisis: A Film of the Nazi Way by Alexander Hammid (1939). Crisis: A Film of the Nazi Way (Alexander Hammid) — collaborator for Maya Deren “Meshes of the Afternoon (1943), her collaboration with her husband at the time, Alexander Hammid, has been one of the most influential experimental films in American cinema history.” (en.wikipedia.org)
• The Lead Shoes by Sidney Peterson (1949). The Lead Shoes (Sidney Peterson) — peer for Maya Deren (themoviedb.org)
• Dance of the Ages by Talley Beatty (1938). Dance of the Ages (Talley Beatty) — collaborator for Maya Deren “The figure belongs to dancer and choreographer Talley Beatty, whose last movement is a leap across the screen back to the natural world.” (en.wikipedia.org)
• Guns of the Trees by Jonas Mekas (1961). Guns of the Trees (Jonas Mekas) — geography for Maya Deren (themoviedb.org)
• Early Abstractions by Harry Smith (1946). Early Abstractions (Harry Smith) — peer for Maya Deren (themoviedb.org)
• The Climate of New York by Rudy Burckhardt (1948). The Climate of New York (Rudy Burckhardt) — geography for Maya Deren

Who Maya Deren influenced

• Barbara Hammer by Barbara Hammer. The article identifies Deren's influence in Hammer's films. (also via Dyketactics) “Her influence can also be seen in films by Carolee Schneemann , Barbara Hammer , and Su Friedrich .” (Wikipedia)
• Godfrey Reggio. The article reports Reggio naming Deren as an influence. “Experimental filmmakers like the late directors Stan Brakhage and Maya Deren, who overtly and intentionally strayed from non-standard cinematography and often utilized little or no dialogue in their films had a stylistic influence.” (Maurice’s Musings)
• Carolee Schneemann (1939). The article identifies Deren's influence in Schneemann's films. (also via Fuses) “Her influence can also be seen in films by Carolee Schneemann , Barbara Hammer , and Su Friedrich .” (Wikipedia)
• The Changing Light at Sandover. Merrill incorporated Deren as a character in his poem. “exchanges not only with recently deceased friends, but also with such luminaries among the dead as Wallace Stevens, W. B. Yeats, Maya Deren, and W. H. Auden” (The Changing Light at Sandover, editors’ note reproduced by WisdomPortal)
• Stan Brakhage. Brakhage is named among filmmakers inspired by Deren. (also via Anticipation of the Night) “Deren was an inspiration to other avant-garde filmmakers such as Curtis Harrington , Stan Brakhage , and Kenneth Anger , who emulated her independent, entrepreneurial spirit.” (Wikipedia)
• Kenneth Anger. Anger is named among filmmakers inspired by Deren. (also via Fireworks) “Deren was an inspiration to other avant-garde filmmakers such as Curtis Harrington , Stan Brakhage , and Kenneth Anger , who emulated her independent, entrepreneurial spirit.” (Wikipedia)
• Dyketactics by Barbara Hammer (1974). Dyketactics (Barbara Hammer) — legacy for Maya Deren “Her influence can also be seen in films by Carolee Schneemann, Barbara Hammer, and Su Friedrich.” (en.wikipedia.org)
• Fuses by Carolee Schneemann (1967). Fuses (Carolee Schneemann) — legacy for Maya Deren “Her influence can also be seen in films by Carolee Schneemann, Barbara Hammer, and Su Friedrich.” (en.wikipedia.org)
• Glub. Fox's film parodies Deren's early work and is dedicated to her. “Glub (1947), a short film by Vancouver amateur filmmaker Stanley Fox, is a slapstick parody of Deren's early work, and is dedicated to her.” (Wikipedia)
• Su Friedrich. The article identifies Deren's influence in Friedrich's films. “Her influence can also be seen in films by Carolee Schneemann , Barbara Hammer , and Su Friedrich .” (Wikipedia)
• Curtis Harrington. Harrington is named among filmmakers inspired by Deren. “Deren was an inspiration to other avant-garde filmmakers such as Curtis Harrington , Stan Brakhage , and Kenneth Anger , who emulated her independent, entrepreneurial spirit.” (Wikipedia)
• Anticipation of the Night by Stan Brakhage (1958). Anticipation of the Night (Stan Brakhage) — legacy for Maya Deren “== Legacy == Deren was an inspiration to other avant-garde filmmakers such as Curtis Harrington, Stan Brakhage, and Kenneth Anger, who emulated her independent, entrepreneurial spirit.” (en.wikipedia.org)
• Amos Vogel. Deren's exhibition inspired Vogel to form Cinema 16. (via Three Abandoned Films) “The event was completely sold out, inspiring Amos Vogel 's formation of Cinema 16 , the most successful film society of the 1950s.” (Wikipedia)