MAYA DEREN
‘CINEMATOGRAPHY: THE CREATIVE USE
OF REALITY
“Tee moton-pitae cer is prhaps he mos pani of ll macins, i
tat can be aos ndpedenly ace an ini psi. Koda xy o>
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tite mcepiity snd sina. Tots mabe dd tat
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teeny 2 modicum of pte and ee): of sujet mater, ony at ei
‘aft idence ot can so Os clotanay level i toni
Sy erase meter for comaicaing cilyceeaty faa
“Te phogrpie mes tro fa 0 smo ha 2
erly oobi btvinanly weap a3 acre, or thao et
tedium, seeps of sivas omy andl be oe. The eormous ve of
Sno serie cso fy the mee ado be geealy scoped
‘Sauer ble Sion td etapa o
ton pictues tt ceaive fae fom—-apate of cee aon in ts oon
{emf sown carr ar ent nape hich can come anit ay
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216
ANIMATED PAINTINGS
Inrecent yeas, preitifist onthe experimen ings of thei woe and
‘ow i gene evdence athe commercial un thers ee hs bas oe ee,
te lopment of what might beled therapies fanned Tes
Sic fms, wich combine abst boekgroands wih ecole but a le
te figures, te designed ad ped by tied and led ppc sean
‘mak we of» sophisientd, ent knowledge of the ch tore a pac we
a. nting even cols A major factor inh megs Wi sche as ce
the eau chia nd aboruory adrane clr Mim sa slr presen
0 tht it oow possible for hse arts to approach he worn eae
ular sren wi al the rapt fedom thy ing toscana
Te smiary between screen and eanas had ng apo been ogi by ais
such a Han Richer, Osar Fchinge, and others who wee ate tx ope
{apicposbiitis (ome at tht time) bt rata bythe eactement oe
fim medium, parity te expaaton of tine dines inves seed
depth creed a mining square, ete dimension ai eed
‘eration ofa spi gue, ee They put hel grape his the Sos ee
fim msm. 2 mens of exencing fn exprsson =
“Ts ow sophie schol dos ps0 mach advance the eat forts as =
vers them, for bere he ass make uz ofthe fim medion ssn toes of
Plas media. This partuary cer when one malas te pine of soe
‘tl composton. The mest apogee em to dese ch watkg ste oy
fen nesting nd ity, dc entity have hl place among Vel
is animated paintings”
‘This cy of iting note in mein peseos cern prs wih he in
‘oducton of sound The in fm had state ot ponent nt ad tf
andere nied by te exporaon and developmen fs few ad ais oe
‘of vital expression. The ado of sound pened the Gor frte vero
‘amas Armed wit he auhoriy power, vs, txtiqe, sila and a,
isthe venerable erry as had accomultd ovr cen ine wis ey
fe psd 1 recognize he all estan ofthe “gem” inoahen oe
‘dod bey a decade in which o explore and evolve ceive pont oh
Te rapid success of the animated ping ity ue othe fact it
ims armed withthe plastic adios ad tesigues wich stage
erage, And jut a the sound fil nto the Svelopmen a its aoe
tte comme evelby proving amore inh sess he Seanad ae
sng” is aleady being sep 52 frm ffm ain the few cas te ase,
SSeS een oa mae samc
rac son oc eneon of 16a. in ssf im sie nd lis) wheeeprinn ia i
“The mtn pcre od hasan extra ange of expo. a a
ema ihe pasa fat ht a compero recon +
‘wo dimen rac with ns at ean deal ine aragament of ove
inn ih nt an enemas even ith mos at
ican compost hts parr fie snd an tensed og ond
‘smc ihm tt a ee Say
ican Tai nd tae satacons allel ngage
“his vey otro of pols some to cet ofan ne minds of
noi fitmhon a cotton wich mited by eimising + mae poian
ee ponns a fove fone oo, pen which ie fm maeegunly
Stosue. Anat, weve sold nt eck cu hy mastery ove
‘Seiten of dite port be bel, tet, bave he eae core
‘Stee he anger of bane overbsined by ean in eel o ee no
Simpy and eon
"Whee “sim unig” fm sine a wx sl as ff =
teas led accents fe tn es at oe
the gic at forte ta essa oma he pn rin of
itnaie senate agen movement Tis pea nie usin
Srbter a pgrgh tf he sane oe of iage sober I ee 9
“tmspondel ifn aponch on wren cox?” Alaa te pot
‘Sunhe pone ithe bse lng ok tthe motion pcre na,
‘Zu wt elletcenen a a scan tt vel no oseratonfasea
[Grenolrovm chun and cen psoas re
‘THE CLOSED CIRCUIT OF THE PHOTOGRAPHIC PROCESS
“Te erm “ge” (rgnaly bse on “iitaion”) means iis fst sense he
visa tenet of a bj operon andi the very et of specying ese.
ance it dings ad entbierthe entire ctegary fv expience wich
Is nora eal object or person. In this pecially mative snse—in he ese tat
the phoorah ofa horse It he se ela photograph i an image.
Bur th erm iage™ aso hus postive implica presumes a mental tiv-
ly, wheter nk mot pte form ("metal age of prepion ad en
fn) oa inthe ars the eave acon of te iain ele Wythe at a=
Suet Here reality ist red by the slecy of indivi iets and
‘todd by prea perpen Yo become expereno, a suc ts combine
‘ih sina. conasing modifying experiences, toh frpoten and enenbeed,
to become tsled ino a concepta nage tl intr ssf the mae
‘Spagna haired hs fal emerge x plats meg whch
{eareliy is own gh A pining mt Cundamenaly, shes or age
‘of ahore tt enes of mental coon ch may resemble ahs oF we
syn ping bw tin yea
Photography, bowerer 3 pros by which a bj cess owe ing
‘te sono sph o lh sive mle I us preset closed ea pe
ee
‘CINEMATOGRAPHY: THE CREATIVE USEOF REALITY 249
ity the pin wr nthe atonal forms, heat proces ake ae
4 rely pases rough he rss excuse oe ce
‘eerie bot foie shot iy of te pops ee ie,
prod conviction a photographic mdi cto bs cane fa
om tw cher depth sa vcd
ig pres or sn extension of ete ene fre che ae
an of te pote of te mem Ie ply ins Se te
‘emi roves ed numa pass
Buin fr te cra spi oops which we ae acaplshed
mess srl» noe create se of nate an nce et
Si is ety oped oral ajocon wi de easy tn
‘teks o micopcleses sn conprae eof oe?
dus he giao ofa es ie! don ater shows rs owious,
ty lps nan appre smoot sta, sowmon so ee a
‘Sel acl woven gw cece bn vm
“uly or wine nate woul te cged ya chageicnge erence
{ello eg of» Ui fr xp, sw-mcton re eo
Seen sete often ep it sd sal maven af win
ee spas i of whchiscon
een we of be mean te epg i ied
rng canes ole pcures of avn seeming tal, Whee ee
ue sed he eve he line sno Oe inclgene of
movers fhe ie a rows ant ih Sn, Soh lac aae
‘opp ts bs apie choi hangs ea to Ped ees
‘os toi slow ar eval imgrege
‘Aouph he monic comets cots a ise of sco
‘anit wo the moton-icture medium. I my trefoe te repaded & oa ey
‘se alas ena inactive orn aso te aaa poeta et
REALITY AND RECOGNITION
Th plano he ogg pres rly rei
wey ete aan nage ich
sain level pers Faron hse eee ay See
on fe exif hongrap be eogaph moa ees
‘sees ofthat ality Geran tes ot eae se
saline nd pres ts quae, Thiele nec rah
Bayt eo apt tone ge
se we eit sia ome es Pop as
cet ef fra
dato ply a xely sport en te ates of es
‘yc age Te inet oft pe srt me meaag mae ee
‘nga Inge ee esas poe of ommncacg te meg
10 ea he no ferive applet e evel see eex0 [LM AND REALETY
meu, Photography, towever, deals ntl really whichis src pr
{mul fo edo, nd who coaigurons resigned eve that purpose ot
{Oeomamunlete i mening: hy may even serve conceal that orpose 8 Po-
{ecvemestre. ln potogaph ten, we bp by recognizing 3 aly, and our
‘tendattknowidges and studs are brought no pay only hea does th spt
‘come meatnga in reerence 0 Te abstt shadow sagen it ee
‘Sovanderstod a all vil yeveid and enfin: he bight ed shape
pale ound which sight nan sr, raphe comes communi ense
ge. coneyssmehing alone eet when recognized ns & wound. AS
‘tcc aim te cons acto recogaion in which we ae involved i ike
‘Taip o memory onling test the ages of he lm sl, form he te
‘ible ender ofan mpl doable expose.
"Toe process by wich we anders an saat gropbicimape is nat diretly
ppt hen 10 hat by which we unten a potoga ote fn case, ie
Mats so meaning inte vecond ae the undentnding which ess re
‘Reo i th ey for evauaton of he asp.
PHOTOGRAPHIC AUTHORITY AND THE
“CONTROLLED ACCIDENT"
_Asaraiy, the ptopmpic imag cofont ws with bance argues ot
sn ebenive ft ove nc xt am nseqedent peste, nee 1
iste We my nw vow wiht nee and Scien edo
‘cketewad massing erat, which ve ol eq a
“Spin nt desand our eps nod consummate he onmanstion ey
‘shine ad stich stirs re Arete epee bese Wea
‘ei our peal ach os nto ay way mis he ey of he
‘orogapi ge cxrner on Sto) compa weight cal 1 ea:
Sony of ea.
Try epon Us ary hat esc schoo of the scl dsumenay in
tated Alough ener he ston of th mot eve Yeats it he
{canara pce sn nl scent te pertinent defen ets
{ibe documents epee on pcp of minimal eet, ne tr
is erbanging eatery a ety 0 he pat fhe al purpose fe
ovo, he inert of «documentary fim comedy 10 he ier
cst rein tno mater Such fis jaye + pod of prea fe
‘Secs ding ews pps served to make ftw-fim poses
‘So tocay wt ore efcivnassn suo frat, an errs wich
{erste tne "poset ape fin and conte vote slowing end
‘Grad con fing
Tre rh clo of epee vi i
ch nds esp he symbols of Geowapy,e neamisions wh
‘pee page nes ter conven hare pu fe fm.
Fs camet nde pyle psec he peers. Toy an, Homee
‘ect aris fear ye sy ance tae end pac be
lozruplons of nema canbe taneosed nto isons which sin and
‘te mens the momentum of ama development vets Spade
Uihich, wie be coment of ancl afin, mig ot ave ben conving
thei gio aspect can eco ah very chem from he elt
"he suturing anicape the he sues and bldg
In cera respects he very acne in moto ltrs he ysl presence
‘tthe performer, whic ss import ote entra even cont 0 oor
Seas of realy. We ean, for example, bles inthe etc «ose we
‘wemotasadt believe tht ix preset inthe om with The tiny igo
‘pons by the pial ely of tera work present ewan ces
tet en with ow deny he eaparine hey prope or wth ao
‘ter toa detached awareness of ht ely as erly cmap, Bat he le
{mage—vbose angie ely conse lights nd shadows xed hgh the
slr and caught on te surface of iver seer comer sae efecto of
other wer. At that tance We ean seater of te moet monet
{extreme of igs, an fam ha perspective we cn prev apd compre,
‘en ti fll mension
“he ahr of elit aval even tothe mos sil cna po
tography i understood 2b a wf the “cooled uci” By “one ae
‘en’ Treat themasenacs ofa Slate blac betwen we oc
‘neously andar as eins ofthe ndepentnt ie fui, andthe esas
{active wtich are dlr Indeed st the ne A pine ng
[mally upn spect she means of communi i tes, woud ake enor
‘ows cre ine srangeent of every desl or example bach acne Te
‘Seriognpher. oc the ober ban, having sled esc which, in penal, has
‘he did aspet—wheber im of gp, deserted or eonded—mar or th Som
try ern fom overcoming te tpt betta the hay fel
iy. The limi of sacha scene soul be planed and raed so 1 ete cone
‘ek ins wn which ying tat orci compaite with hint ote
‘The inven cvet which she avosuced, hough self an ais, aoe
relly fom te ray of he scene fom te tatu blowing the hay te
replay of he waves th ery enue of he sone and ai sh fr ll,
the amcor, spmtaneos elements which a he propery of ete nel
(nly in phowogsapy—ty the delews emnipulaion whit Tel cone ae
‘data etal phenome be incorporated lt Ou ov tay 1 il
image whore the ely ote confor ith pon tn sens we Cus to ae
‘fie beneath
ABSTRACTIONS AND ARCHETYPES.
sch the oer at forms ae ot conse of malty ee, hey re
metaphors for realty. Bat potagrphy, eng iself te Pal o he eqn
heer an wes wn realy 34 metaphor or eat also
the image san abana he specs oawpapy te abacon of sh
ie produces he whey mage