psychodrama and art Maya Deren was a key figure and pioneer in the American postwar art, but despite this still remains excluded and forgotten in most of film history books, perhaps because of its underground status and be removed from official speeches and classical forms.
The meshes of afteroon (1943) follows his debut after 57 years causing a huge embarrassment and bewilderment, to through images and situations that disoriented and shocked by equal parts. What tells the meshes of aternoon ? Is it a dream? A dream within a dream? "A dream of a true substrate? A nightmare within a dream?.
No one better than the director herself to shed some light on this: This film deals with a person's inner experiences. Not evoke a fact that could be observed by others, but reproduces the way in which the subconscious of an individual develops, interprets and develops an incident apparently simple and casual transforming it into a critical experience. [1]
would not be free at all Maya Deren see in a clear precursor to the twisted world of David Lynch dream, in fact in just 15 minutes The Meshes of Afternoon condenses some constant keys and the director of Montana used in his films, such as labyrinthine narrative structures, environments nightmare and anxiety, personality splits or sinister characters.
Deren's film belongs and initiate a sub-genre, the film trance or psychodrama that has its origin in the figure of Cesare's The Cabinet of Dr. Caligari (1919). Deren continue with the line of psychodrama in his following works At land (1944) and A Study in Choreografic for camera (1945). Inlfuenciado by a European surrealist Jean Cocteau's film Le Sang d'un poet (1930) as a reference system, psychodrama has seriously and clearly transcendental tone that distinguishes it from the surrealism of Deluc Buñuel.
The importance of early Deren's work lies in being a pioneer of postwar American art and the influence they exercise or other films "trance" as diverse as including Fireworks (1947) and Inauguration of pleasure done (1954) by Kenneth Anger , shadows The way to garden ( 1954) and Reflection on black (1955) Stan Brakhage or Markopoulous Gregory works as Swain (1950) and Cristhmas Use (1949).
There is a moment of incredible beauty within The Meshes of Afternoon (1943) that it should be emphasized when Maya Deren looks absorbed through an apartment window relfejado his face in the mirror of glass is surrounded by branches of trees, the pale Deren somehow reminds us strangely random and the character of Flora of the table of Botticheli Spring, and with this simple and beautiful plane is apparent that this importanciade Ukrainian immigrant in the American avant-garde cinema, jumping all industrial conditions, linked directly with the arte.Un cinema cinema-free bonds that is accountable only to the creator.
Paidos
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