"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 "In her approach we have the beginnings of a virtually new artform of 'choreocinema' in which the dance and the camera collaborate on the creation of a single work of art." – John Martin, New York Times, 1946 Contents A STUDY IN CHOREOGRAPHY FOR THE CAMERA 1945, silent, b/w, 2min30 RITUAL IN TRANSFIGURED TIME 1945-46, silent, b/w, 16min MEDITATION ON VIOLENCE 1948, b/w, 13min THE VERY EYE OF NIGHT 1952-55, b/w, 15min
This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.