{"id":1111,"date":"2002-11-13T20:45:51","date_gmt":"2002-11-13T20:45:51","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1111"},"modified":"2018-01-25T15:00:58","modified_gmt":"2018-01-25T15:00:58","slug":"in-the-mirror-of-maya-deren","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2002\/11\/13\/in-the-mirror-of-maya-deren\/","title":{"rendered":"In the Mirror of Maya Deren"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>IN THE MIRROR OF MAYA DEREN<br \/>\nWednesday 13 November 2002, at 8:45pm<br \/>\nLondon National Film Theatre NFT3<\/b><\/p>\n<p style=\"padding-left: 30px;\"><i>\u2018More than anything else, cinema consists of the eye for the magic \u2013 that which perceives and reveals the marvellous in whatsoever it looks upon.\u2019 (Maya Deren)<\/i><\/p>\n<p><b>Martina Kudl\u00e1cek, In the Mirror of Maya Deren, Austria, 2001, 103 min<\/b><br \/>\nA feature length biography of the life and work of Maya Deren, whose <i>Meshes of the Afternoon<\/i> (1943) is widely regarded as the starting point for post-war independent (or avant-garde) film-making. Born in Kiev in 1917, Deren moved to the United States with her parents in 1922 and finally settled in New York, where she died in 1961. Though best known as a film-maker, Maya was also accomplished in the fields of dance, poetry, ethnology, voodoo and ritual. Her tireless promotion of her films, developing new contexts and structures for screenings, were a direct influence on generations of film activists (Jonas Mekas considers her original film canisters to be \u2018the Holy Grail of cinema\u2019). In her study of voodoo, Deren was the author of \u2018Divine Horsemen: The Living Gods of Haiti\u2019, an important anthropological field guide, and shot hours footage of Voudoun ceremonies. Maya\u2019s story is told through excerpts from her works, rare recordings of her voice (\u2018in film, I can make the world dance\u2019) and reminiscences from friends and acquaintances. The myths are broken down and an extraordinary life revealed.<\/p>\n<p><i>screening with<\/i><\/p>\n<p><b>Mary Beth Reed, The Garden Path, USA, 2001, 8 min<br \/>\n<\/b>An abstracted study of Stan Brakhage at work on his hand-painted film <i>Micro Garden<\/i>.<\/p>\n<p><a href=\"#top\">Back to top<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[43],"tags":[9],"class_list":["post-1111","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2002","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1111","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1111"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1111\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1111"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1111"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1111"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}