Maya Deren

Films

Meshes of the Afternoon

Related Links

Film-Makers’ Cooperative

Senses of Cinema

Wikipedia

Archival Collections

Anthology Film Archives, Library

Anthology Film Archives.

Biographical files, [ca. 1920-1985], [ca. 1960-1970] (bulk).

ca. 52 cubic ft.

Arrangement of Materials: Alphabetical by name.

Anthology Film Archives, Library

Anthology Film Archives.

Essential cinema repertory collection, [ca. 1915-1972], [ca. 1960-1970] (bulk)

ca. 360 films, 8mm, 16mm, 35 mm.

Boston University, Howard Gotlieb Archival Research Center

Deren, Maya.

Maya Deren collection, [194-]-[196-].

29 linear ft.

Museum of Modern Art

DEREN, MAYA

Artist file : miscellaneous uncataloged material.

1 folder.

Museum of Modern Art

Deren, Maya.

Deren, Maya : [photography bio file].

1 folder.

Museum of Modern Art

The Museum of Modern Art.

Sound Recordings of Museum-Related Events

1939-.

Finding Aid: http://www.moma.org/learn/resources/archives/EAD/SoundRecordingsf

New York Public Library

Teiji Itō collection, ca. 1950-1982.

1 cubic ft.

Arrangement of Materials: 1. Papers; 2. Music by Teiji Itō; 3. Music by Yuji Ito and others.

New York University

Women’s Independent Film Exchange Collection, [ca. 1950s-1980s]. 1980s (bulk).

8 linear feet.

Arrangement of Materials: Organized into three series: I. W.I.F.E.; II. Subjects; III. Filmmakers.

University of Texas at Austin, Harry Ransom Humanities Research Center

Alicat Book Shop Press.

Alicat Book Shop Press Records.

1945-1966.

Finding Aid: http://www.lib.utexas.edu/taro/uthrc/00006/hrc-00006.html

References

Butler, Alison. “‘Motor-driven Metaphysics’: Movement, Time and Action in the Films of Maya Deren.” Screen 48.1 (2007): 1–23.
Cagle, Robert. “A Career Abandoned: The Life and Works of Maya Deren.” Micro-Film 1 (2000): 6. Print.
“CHAPTER 6: The Ethics of Witnessing: MAYA DEREN AND TRACEY MOFFATT.” Trauma Culture: The Politics of Terror & Loss in Media & Literature. Rutgers University Press, 2005. 122–135. Print.
Cook, Pam. “Chambers and Corridors — Maya Deren.” Monthly Film Bulletin 55 (1988): 220. Print.
—. “Invocation Maya Deren.” Monthly Film Bulletin. June 1988 : 170-71. Print.
Dale, Jon. “Post-Punk and Vision.” Senses of Cinema 51 (2009): 31. Print.
Dusinberre, Deke. “Ritual in Transfigured Time.” Monthly Film Bulletin. July 1988 : 217-18. Print.
“Eight Things That Will Keep You in the Know.” Filmmaker: The Magazine of Independent Film 18.4 (2010): 26. Print.
“Excerpts from an Interview with The Legend of Maya Deren Project.” Camera Obscura. Summer79 1979 : 177-92. Print.
Fabe, Marilyn. “Maya Deren’s Fatal Attraction: a Psychoanalytic Reading of ‘Meshes of the Afternoon’ with a Psycho-biographical Afterword.” Women’s Studies 25 (1996): 137–152. Print.
Fowler, Catherine. “Remembering Cinema ‘Elsewhere’: From Retrospection to Introspection in the Gallery Film.” Cinema Journal. Winter 2012 : 26-45. Print.
—. “Room for Experiment: Gallery Films and Vertical Time from Maya Deren to Eija Liisa Ahtila.” Screen 45.4 (2004): 324–343. Print.
Gardner, Robert. “Martina Kudlacek.” Bomb (2002): 46–53. Print.
GARDNER, ROBERT. “The Impulse to Preserve.” Beyond Document: Essays on Nonfiction Film (1996): 169–180. Print.
Geller, Theresa L. “The Personal Cinema of Maya Deren: Meshes of the Afternoon and Its Critical Reception in the History of the Avant-garde.” Biography: An Interdisciplinary Quarterly. Winter 2006 : 140-58. Print.
Haller, Robert. “Moving Bodies After Maya Deren.” Dance on Camera Journal 9.5 (2006): 1. Print.
Heck-Rabi, Louise. “Deren, Maya.” St. James Women Filmmakers Encyclopedia. Dec. 1999 : 116-17. Print.
Hoberman, J. “Secrets and Lies.” Village Voice. 2003 : 105. Print.
Homiak, John P. “The Anthropological Visualization of Haiti: Reflections on the Films of Melville Herskovits and Maya Deren.” CVA Review (1990): 13–21. Print.
“In the Mirror of Maya Deren.” Gay Times. June 2007 : 48. Print.
James, David. “Peregrinations of the Avant Garde: The Chelsea Girls Go to Russia.” Millennium Film Journal 38 (2002): 9–18. Print.
KEYSSAR, HELENE. “The Toil of Thought: On Several Nonfiction Films by Women.” Beyond Document: Essays on Nonfiction Film. Jan. 1996 : 101-36. Print.
Kuhn, Annette. “Meshes of the Afternoon.” Monthly Film Bulletin. June 1988 : 186-87. Print.
—. “The Very Eye of Night.” Monthly Film Bulletin. July 1988 : 219. Print.
MacDonald, Scott. “Nathaniel Dorsky and Larry Jordan on Stan Brakhage, Maya Deren, Joseph Cornell, and Bruce Conner.” Quarterly Review of Film & Video Jan. 2007 : 1–10. Print.
Millsapps, Jan L. “Maya Deren, Imagist.” Literature Film Quarterly 14.1 (1986): 22. Print.
Nekola, Charlotte. “On Not Being Maya Deren.” Wide Angle 18 (1996): 29–37. Print.
O’Pray, Michael. “Meshes, Trances & Meditations.” Monthly Film Bulletin 55 (1988): 183–185. Print.
—. “Out-takes from Maya Deren’s Study in Choreography for Camera.” Monthly Film Bulletin. July 1988 : 217. Print.
—. “Study in Choreography for Camera, A.” Monthly Film Bulletin. July 1988 : 218-19. Print.
—. “Witch’s Cradle.” Monthly Film Bulletin. June 1988 : 187. Print.
Pramaggiore, Maria. “Performance and Persona in the U.S. Avant-Garde: The Case of Maya Deren.” Cinema Journal 36.2 (1997): 17. Print.
Reed, Jordan. “In the Mirror of Maya Deren.” Boxoffice. Mar. 2003 : 44. Print.
Rees, A.L. “Meditation on Violence.” Monthly Film Bulletin. July 1988 : 216-17. Print.
Rich, B. Ruby. “Chapter 4: Voodoo Verité: Maya Deren’s Divine Horsemen (1978).” Chick Flicks: Theories & Memories of the Feminist Film Movement. 1998. 52–56. Print.
—. “Prologue. Life, Death, and Tragic Homecoming.” Chick Flicks: Theories & Memories of the Feminist Film Movement. 1998. 48–51. Print.
Russell, Catherine, and Ivone Margulies. “RETRACINGS: Ecstatic Ethnography: Maya Deren and the Filming of Possession Rituals.” Rites of Realism: Essays on Corporeal Cinema. 2003. 270–293. Print.
Schulman, Sarah. “A Thought About Leni Riefenstahl, Maya Deren, and Gay and Lesbian Film.” Millennium Film Journal 41 (2003): 45–49. Print.
Smetak, Jacqueline R. “Continuum or Break? ‘Divine Horsemen’ and the Films of Maya Deren.” New Orleans Review 17 (1990): 89–97. Print.
Stratton, David. “In the Mirror of Maya Deren.” Variety Movie Reviews (2002): 1. Print.
Sullivan, Moira. “2 x Maya Deren.” Film International (16516826) 2.10 (2004): 56–58. Print.
Taubin, Amy. “Not Reconciled.” Millennium Film Journal 16-18 (1986): 95–97. Print.
“Theorizing Amateur Cinema.” Moving Image (15323978) 8.2 (2008): 36–60. Print.
Varela, Willie. “We Will Not Go Quietly: Some Thoughts on the Avant-Garde, Then and Now.” Journal of Film & Video 57.1/2 (2005): 3–8. Print.
Warwick, Margaret. “At Land.” Monthly Film Bulletin. June 1988 : 185-86. Print.
Wees, William C. “In the Mirror of Maya Deren (2002).” Moving Image (15323978) 5.1 (2005): 136–140. Print.
Williams, David E. “Underground.” Film Threat (1993): 60–61. Print.
Wolfreys, Julian. “‘Meshes of the Afternoon’: Hollywood, the Avant-garde and Problems of Interpretation.” Cineaction (1987): 38–41. Print.
“You Are Here.” Independent (15575799) 27.8 (2004): 52–55. Print.



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