A Study in Choreography for Camera
More and more I started to think about working with the formalised, stylised movement of dance, about taking the dancer out of the theatre and giving him the world as a stage
A Study in Choreography for Camera marks, according to the critics, the birth of “choreocinema”: Maya Deren investigates and studies the direct relationship between movement – the absolute protagonist – space and the film camera together with the dancer and choreographer Talley Beatty, in a spaceless and timeless perpetual motion rendered by precise shooting and editing techniques. The Bolex 16mm rotates 360 degrees in “phrasing” – as Deren defines them – becoming Beatty’s partner. The collaboration between director and performer is extremely intense: in just three minutes the two have the ability to free the human body from the confines of reality, between inside and outside, exploring new possibilities of perception.
The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren’s dreamlike and surreal world.
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.
To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Light Cone e Re:Voir Video.
regia
Maya Deren
running time
3'
film format
16mm
year
1945
Find out all the films in the series Maya Deren. Amateur is a Lover
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AMATEUR IS A LOVER
Back To Maya Deren And To Free Cinema
Filmmaker, theorist, activist, dancer, anthropologist, in her short, intense existence Maya Deren opened paths and pointed at roads never walked before she did. Considered to be the godmother of American avant-garde cinema, her work was an incredible source of inspiration for several generations of artists and her influence is still very strong. Today more than ever she is recognized as woman filmmaker capable of establishing herself at a very young age in a male world, a forerunner evading definitions, thus troublesome.
Deren, a gigantic figure of the Twentieth Century as an European relocated in America between the two World Wars, now as then she is a fixed point of return and an unlimited source of inspiration for the production of images, thought and art. For this XIV edition, Archivio Aperto pays tribute to her cinema with a section dedicated to her, Amateur Is A Lover. Indeed, the title recalls Maya Deren’s ideology about freedom, both artistic and bodily, of a cinema without the compulsions of the industry and made with a lightweight camera, her own body, the senses, the mind.
Amateur Is A Lover goes through her complete filmography in the best restored version available, with both live film screenings and online streaming on MyMovies: among the works, an unfinished opus filmed at the Guggenheim Gallery of New York, a “family film” with the cat as a protagonist, a “posthumous” work edited with the footage of the incredible experience in Haiti about dances and voodoo rituals, two documentaries dedicated to Deren’s life and works, a musical operation on three of her soundless films and a reinterpretation of a ravishing text of hers, throughout archive images.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
MAYA DEREN IN 16MM - LIVE AT THE SERRE OF THE GIARDINI MARGHERITA
Thursday 16th September, 20.00 - reserve your ticket
Meshes of the Afternoon - 1943, 14'
At Land - 1944, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
A Study in Choreography for Camera - 1945, 3' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Ritual in Transfigured Time - 1946, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Friday 17th September, 20.00 - reserve your ticket
Amateur is a Lover. Reading Amateur vs Professional - 2021, 5' | Archive selection curated by Home Movies. Voice and sounds di Francesca Bomo.
Meditation on Violence - 1948, 12'
The Very Eye of Night - 1958, 15'
Saturday 18th September, 20.00 - reserve your ticket
Divine Horsemen. The living God of Haiti - 1947-54, 1977, 50'
(O.V. with Italian subtitles)
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.
To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Le Serre dei Giardini Margherita/Kilowatt, Light Cone.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Friday 17th September, 20:00 | Serre dei Giardini Margherita, BO
From 22nd September to 27th October | online on MyMovies
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Amateur “means one who does something for the love of the thing rather than for economic necessity”
With Amateur Versus Professional (1959), short and legendary text which influenced generations of filmmakers, Maya Deren offers a manifesto of amateur cinema combining the political and poetical tones with practical advices and exhortations.
Juxtaposing Deren’s words and amateur films’ images – previous, contemporary and subsequent to the text, and coming from the Italian context – this short video curated by Home Movies is an anti-authoritative attempt to visualize Deren’s ideas about the freedom of making cinema without economical restrictions and heavy technical apparatuses, and about the use of the camera as an extension of her own body.
[/vc_column_text][vc_column_text]
Amateur Versus Professional
Maya Deren
«The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word - from the Latin “amateur” - “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staff and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom - both artistic and physical.
Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.
Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement or wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.
Physical freedom includes time freedom - a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package. Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity.
The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them».
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.
To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Light Cone and Re:Voir Video.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday 16th September, 20:00 | Serre dei Giardini Margherita, BO
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Three films thought and left soundless by Maya Deren (At Land, 1944; A Study in Choreography for Camera, 1945; Ritual in Transfigured Time, 1946) give musicians Francesca Bono (Ofeliadorme) e Vittoria Burattini (Massimo Volume) the chance to create a dialogue with Deren through synth, drums and voice
A project for Archivio Aperto which was born to answer a curatorial question: to which extent abiding by philology and to which instead pushing towards the very experimentation Deren herself inspires through her work?
The idea of the choice we have made after talking to Pip Chodorov and Tavia Ito, it’s that one thing does not rule out the other - it is enough to claim the intentions - because even if Deren’s work was to shutter as a mirror in a thousand pieces we wouldn’t ever stop to look at ourselves in its shards.
Francesca Bono’s intentions are clear: “I understood almost immediately what I wanted to do, a few frames were enough, I soon took sound notes and thought that my friend Vittoria Burattini would have been a perfect “partner in crime” to create a dreamlike and surreal sound. We have both confidence and reciprocal respect. I wanted to pay tribute to Deren, an extraordinary artist who inspired some of my favourite directors, and another musician I admire and with whom I shared a certain kind of poetics. I was looking for a sensorial sabbath, an immersion in the obsessive. I wanted a message to be clear: Women who make.”
Francesca Bono and Vittoria Burattini
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.
To be granted access to the event, a Covid-19 Green Pass is required.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday 16th September, 20.00 - 16mm live screening | Serre dei Giardini Margherita, Bo
From 16th September to 27th October | on MyMovies
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Meshes of the Afternoon is my starting point [...] In such a way that it was not so much discovering a new medium as finally arriving at home, in a world whose vocabulary, syntax, grammar were my mother tongue; which I understood and in which I thought.
Filmed in silence - the soundtrack composed by Teiji Ito was added in 1959 - Meshes of the Afternoon is an anxious and surreal portrait of the inner facets of an individual: neurotic associations, games of shadows and mirrors explore as never before the ghosts of the women's psyche and identity, including sexuality. A poetic psychodrama whose centripetal narrative is modelled on the movements of the director's alter egos - in a continuous extra corporeal connection between the self and the Other - within a suffocating domestic space. An obsessive pursuit that ends with a liberation, from which emerges the Deren subjective experience of the world and the desire to reclaim feminine power.
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To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Light Cone e Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Witch's Cradle was filmed at the Guggenheim Gallery during the surrealist exhibition "Art of this Century" and it was assembled long after the director's death by the staff of the Anthology Film Archives.
It was made in 1943 in collaboration with Marcel Duchamp, who appears with actress and protagonist Pajorita Matta: esotericism, the occult world and witchcraft are intertwined, like the string that Duchamp handles.The camera is already a choreographer that follows Matta, who may be playing the role of a witch (or a possessed?) wearing a mark on her forehead with an infinitely repeatable inscription, "The end is the beginning is the end...", in the evocation of that mysterious and divinatory atmosphere that will also be present in her future films.
The genesis of the film draws certainly inspiration from Deren’s experience, since forever fascinated by the statuses of conscience alteration and interested in the psychic mazes. In Autumn 1939, in fact, she started working for the United States writer William Seabrook, who commissioned her some research about witchcraft. Their collaboration did not last very long and came to an end after a period of stay in the writer’s mansion. As she tells in a letter, Deren was asked to undergo some practices of supposed occultism which upset her quite a lot: among these, that of sitting with legs astride on Seabrook’s “witch’s cradle”, “some sort of medieval chair, very narrow, where the witch apprentices had to stay sit to be able to ride a broomstick”.
In collaboration with Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday September 16th, 20:00 – 16mm with live added sound | Serre dei Giardini Margherita, BO
From September 16th to October 27th – Original Version | online on MyMovies
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What I do with my films... I believe they are a woman's film, and I think their specific temporal quality is the quality of a woman's time.
At Land is a dreamlike narrative in which a female character - played by the director - suddenly finds herself on a beach to make a journey, a détour in search of her identity, meeting other people and different versions of herself. Deposited on the seashore by the waves, whose motions are governed by contrary laws, Deren gets up to enter the earthly world: alternating between anachronistic spaces, the subconscious of the protagonist is forced to come to terms with the myopic male vision that dominates society and the dominant film system.
The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.
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To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Light Cone e Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday 16th September, 20:30 – 16mm with added live sound | Serre dei Giardini Margherita, BO
From 15th September to 27th October – Original Version | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The fluidity experienced in A Study in Choreography for Camera increases in Ritual in Transfigured Time, Maya Deren's fourth film. The illusion of constant motion is no longer given by the dance of the camera but by the silent chasing and floating of Rita Christiani (a dancer too), who moves from a domestic ritual to a party scene, a hypnotic dance followed by a perpetual fall into the marine world. Described as a "trance-film" by Paul Adams Sitney, the film is orchestrated around Christiani's interacting movements with the other characters - including Deren - who are also dancers, in "a cinematic ritual that is achieved not only in spatial terms, but in terms of a Time created by the camera".
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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Every evening, before going to bed, around two o'clock, Maya Deren went for a walk with her cats along the Hudson River. The Private Life of a Cat was directed with her husband Sasha Hammid and is an "intimate study" of the childbirth of their cat Glamour Girl in their New York flat on Morton Street.
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Friday 17th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Stan Brakhage described it as one of Maya Deren's most personal films: "She is the camera, she's moving, she's breathing in relation to this dancer".
In Meditation on Violence, Maya Deren's camera is guided by the performative gesture of the Chinese boxer Chao Li Chi, in a performance that alternates the traditional training of the Wu-Tang and Shao-Lin schools. A metaphysical meditation that is realised through form, understood as a whole, between slowdowns, still images and imperceptible reiterations.
"The maximum of an extreme becomes its opposite. Here the maximum of violence is paralysis", explains Deren: the metaphysical concepts linked to Chinese boxing are elegantly materialised in the gesture itself and in its making, a privileged means of visual expression.
In collaboration with Light Cone e Re:Voir Video.
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Saturday 18th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Divine Horsemen. The Living God of Haiti was released posthumously in 1977. Edited by Teiji Ito and his wife, it encloses - in a delicate artistic operation - 50 minutes of the four hours of material shot by Maya Deren during her stay in Haiti - the Haitian Film Footage - during her stay in Haiti, in particular those of 1947 and 1949.
Deren’s Haitian project and ambition have distant origins, rooted primitively in her sensitiveness and predisposition to discovery, in the allure of the universe of Haitian rituals and tradition, shaken since her collaboration with Katherine Dunham. Deren’s first ideas of going on such a Caribbean journey date back to 1941 and they materialized five years later, in 1946, when she meets anthropologists Gregory Bateson and Margaret Mead: in that period they give a strong stimulus to ethnographic research in filmmaking, certain that film is an important tool of anthropological analysis.
In 1947, Deren made her first trip with the aim of making a film that would relate the ritualistic aspect of Western children's games to Haitian rituals. The desire to film 'the logic of voodoo' led her to revise her initial desire into a much larger project which will take the aforementioned name of Haitian Film Footage, including even the pioneeristic idea to found an independent film industry on the island for 16mm productions. She will be back three other times, 21 months overall (the last trip was made at the beginning of 1955) and in 1953 she finishes the detailed anthropological book Divine Horsemen. The Living God of Haiti.
During this long period Deren's anthropological experience, nearly inevitably, is total, matching the director’s exploratory attitude accompanied by her deep and almost obsessive desire to fully understand the dictates of that culture - not by chance, she will be the first white woman to be initiated into the voodoo religion and she will be assigned a spirit guide, Erzulie, the deity of love - without ever betraying it.
Deren marks a new anthropological filmic modality, entirely authorial, which could only be realised through her, in the name of a physical crossing, of a body which is always located at the centre: far enough from scientific practice and close in every sense to mythological practice, as though she was a divine horse-woman herself, a (unique) passage and intimate portal between the Haitian and western worlds. She catches mainly the sances, the possession ceremonies, the holidays (the Mardi Gras): she draws from time to time a proper rhythm and energy, made out of slow motions - on the spasms of the possessed bodies - and stretched durations, newly experimenting about film time and the motoric possibilities of her Bolex camera.
The camera, in fact, is mobile and trundles in a circle, completely submerged in the community: this very immersion, almost a worship, is one of the causes - beside the financial one - which never allowed the director to come to an end of her project, in the utmost difficulty carried by the way the footage should have been edited and showed, both ethically and morally, without betraying the spiritual logic of the Haitian community to which she now belonged, in the full awareness of both weight and responsibility of her own artistic doing.
In collaboration with Light Cone e Re:Voir.
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite. .
To be granted access to the event, a Covid-19 Green Pass is required.
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Friday 17th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Very Eye of Night was the last film Maya Deren managed to complete, as well as the longest and most expensive of her career: shooting began in 1952, the film was not completed until seven years later. The work is a stylised choreography, a "celestial ballet" made with the students of the Metropolitan Opera Ballet School in New York that depicts cosmic individuals dancing - swimming, flying - in the night.
To render the nocturnal atmosphere, Deren prints the whole film in negative: "If the earth is round and turns what by day is an abyss, by night is heaven; and the life of the day and that of the night are one the negative of the other". With music by Teiji Ito, The Very Eye of the Night is to all intents and purposes a metaphysical visual poem which, also influenced by Haitian culture, embraces a new form of experimentalism from which the primacy of the imagination emerges.
In collaboration with Light Cone e Re:Voir Video.
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Submerged , in the green of the Serre dei Giardini Margherita
soon on www.archivioaperto.it
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A tribute to filmed cats before and after Maya.
The private life of a cat is the starting point of a kitten selection from the Home Movies archive, as filmed between the 1930s and the 1980s. Is it us humans to think to have tamed the cat or is it not the cat to believe to have completely conquered us? A tribute to Maya Deren's huge feline passion.
La selezione sarà presentata come installazione collaterale alle proiezioni in presenza. Sarà diffusa sul sito di Archivio Aperto e attraverso i social networks.
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AMATEUR IS A LOVER
Back To Maya Deren And To Free Cinema
Filmmaker, theorist, activist, dancer, anthropologist, in her short, intense existence Maya Deren opened paths and pointed at roads never walked before she did. Considered to be the godmother of American avant-garde cinema, her work was an incredible source of inspiration for several generations of artists and her influence is still very strong. Today more than ever she is recognized as woman filmmaker capable of establishing herself at a very young age in a male world, a forerunner evading definitions, thus troublesome.
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Amateur Is A Lover goes through her complete filmography in the best restored version available, with both live film screenings and online streaming on MyMovies: among the works, an unfinished opus filmed at the Guggenheim Gallery of New York, a “family film” with the cat as a protagonist, a “posthumous” work edited with the footage of the incredible experience in Haiti about dances and voodoo rituals, two documentaries dedicated to Deren’s life and works, a musical operation on three of her soundless films and a reinterpretation of a ravishing text of hers, throughout archive images.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
MAYA DEREN IN 16MM - LIVE AT THE SERRE OF THE GIARDINI MARGHERITA
Thursday 16th September, 20.00 - reserve your ticket
Meshes of the Afternoon - 1943, 14'
At Land - 1944, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
A Study in Choreography for Camera - 1945, 3' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Ritual in Transfigured Time - 1946, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Friday 17th September, 20.00 - reserve your ticket
Amateur is a Lover. Reading Amateur vs Professional - 2021, 5' | Archive selection curated by Home Movies. Voice and sounds di Francesca Bomo.
Meditation on Violence - 1948, 12'
The Very Eye of Night - 1958, 15'
Saturday 18th September, 20.00 - reserve your ticket
Divine Horsemen. The living God of Haiti - 1947-54, 1977, 50'
(O.V. with Italian subtitles)
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.
To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Le Serre dei Giardini Margherita/Kilowatt, Light Cone.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Amateur is a Lover
Reading Amateur Versus Professional
Amateur Vs Professional, manifesto di Maya Deren del cinema amatoriale mondiale, letto da Francesca Bono sulle immagini amatoriali d'archivio di Home Movies.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
SOUND IN TRANSFIGURED TIME
Progetto speciale, La sonorizzazione live di At Land, A Study in Choreography for Camera e Ritual in Transfigured Time a cura di Francesca Bono (Ofeliadorme) e Vittoria Burattini (Massimo Volume).
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
Meshes of the Afternoon
di Maya Deren - Uno psicodramma poetico e surreale ritratto sulle sfaccettature dell'identità femminile: Meshes of the Afternoon è il primo film del cinema sperimentale americano moderno.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
The Witch’s Cradle
di Maya Deren - Film incompiuto, con la partecipazione di Marcel Duchamp: esoterismo e mondo occulto si intrecciano tra loro, come i fili nelle mani dell’artista francese.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
At Land
di Maya Deren - Una narrazione onirica in cui una donna, Maya Deren, si ritrova su una spiaggia, per compiere un viaggio alla ricerca della propria identità.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
Ritual in Transfigured Time
di Maya Deren. - La cinepresa di Deren segue silenziosa l’avanzare fluttuante della ballerina Rita Christiani, in un rituale in cui tempo e spazio avanzano mutevolmente.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
The Private Life of a Cat
di Maya Deren - Un ritratto da vicino dei comportamenti di un mondo felino incontaminato, attraverso la gatta della regista, Glamour Girl.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
Meditation on Violence
di Maya Deren - Maya Deren segue il gesto performativo di un boxeur instaurando con il suo corpo e il suo movimento una riflessione visiva sull’espressione della violenza.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
Divine Horsemen
The living God of Haiti
di Maya Deren - Una ricerca intima e pionieristica sulla danza e i riti di possessione voodoo della cultura haitiana, montata postuma da Teiji Ito.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
The Very Eye of Night
di Maya Deren -Una coreografia cinematografica del cosmo, un viaggio notturno che attraverso l’infinità esplora l’universo interiore dell’uomo nel momento in cui si addormenta.
In Maya Deren. Amateur is a Lover 16.09 / 27.10.2021
Glamour Cats
Before and after Maya
Un omaggio ai gatti filmati prima e dopo Maya, attraverso le immagini d'archivio feline di Home Movies.
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AMATEUR IS A LOVER
Back To Maya Deren And To Free Cinema
Filmmaker, theorist, activist, dancer, anthropologist, in her short, intense existence Maya Deren opened paths and pointed at roads never walked before she did. Considered to be the godmother of American avant-garde cinema, her work was an incredible source of inspiration for several generations of artists and her influence is still very strong. Today more than ever she is recognized as woman filmmaker capable of establishing herself at a very young age in a male world, a forerunner evading definitions, thus troublesome.
Deren, a gigantic figure of the Twentieth Century as an European relocated in America between the two World Wars, now as then she is a fixed point of return and an unlimited source of inspiration for the production of images, thought and art. For this XIV edition, Archivio Aperto pays tribute to her cinema with a section dedicated to her, Amateur Is A Lover. Indeed, the title recalls Maya Deren’s ideology about freedom, both artistic and bodily, of a cinema without the compulsions of the industry and made with a lightweight camera, her own body, the senses, the mind.
Amateur Is A Lover goes through her complete filmography in the best restored version available, with both live film screenings and online streaming on MyMovies: among the works, an unfinished opus filmed at the Guggenheim Gallery of New York, a “family film” with the cat as a protagonist, a “posthumous” work edited with the footage of the incredible experience in Haiti about dances and voodoo rituals, two documentaries dedicated to Deren’s life and works, a musical operation on three of her soundless films and a reinterpretation of a ravishing text of hers, throughout archive images.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
MAYA DEREN IN 16MM - LIVE AT THE SERRE OF THE GIARDINI MARGHERITA
Thursday 16th September, 20.00 - reserve your ticket
Meshes of the Afternoon - 1943, 14'
At Land - 1944, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
A Study in Choreography for Camera - 1945, 3' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Ritual in Transfigured Time - 1946, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Friday 17th September, 20.00 - reserve your ticket
Amateur is a Lover. Reading Amateur vs Professional - 2021, 5' | Archive selection curated by Home Movies. Voice and sounds di Francesca Bomo.
Meditation on Violence - 1948, 12'
The Very Eye of Night - 1958, 15'
Saturday 18th September, 20.00 - reserve your ticket
Divine Horsemen. The living God of Haiti - 1947-54, 1977, 50'
(O.V. with Italian subtitles)
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.
To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Le Serre dei Giardini Margherita/Kilowatt, Light Cone.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Friday 17th September, 20:00 | Serre dei Giardini Margherita, BO
From 22nd September to 27th October | online on MyMovies
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Amateur “means one who does something for the love of the thing rather than for economic necessity”
With Amateur Versus Professional (1959), short and legendary text which influenced generations of filmmakers, Maya Deren offers a manifesto of amateur cinema combining the political and poetical tones with practical advices and exhortations.
Juxtaposing Deren’s words and amateur films’ images – previous, contemporary and subsequent to the text, and coming from the Italian context – this short video curated by Home Movies is an anti-authoritative attempt to visualize Deren’s ideas about the freedom of making cinema without economical restrictions and heavy technical apparatuses, and about the use of the camera as an extension of her own body.
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Amateur Versus Professional
Maya Deren
«The major obstacle for amateur film-makers is their own sense of inferiority vis-a-vis professional productions. The very classification “amateur” has an apologetic ring. But that very word - from the Latin “amateur” - “lover” means one who does something for the love of the thing rather than for economic reasons or necessity. And this is the meaning from which the amateur film-maker should take his clue. Instead of envying the script and dialogue writers, the trained actors, the elaborate staff and sets, the enormous production budgets of the professional film, the amateur should make use of the one great advantage which all professionals envy him, namely, freedom - both artistic and physical.
Artistic freedom means that the amateur film-maker is never forced to sacrifice visual drama and beauty to a stream of words, words, words, words, to the relentless activity and explanations of a plot, or to the amateur production expected to return profit on a huge investment by holding the attention of a massive and motley audience for 90 minutes.
Like the amateur still-photographer, the amateur film-maker can devote himself to capturing the poetry and beauty of places and events and, since he is using a motion picture camera, he can explore the vast world of the beauty of movement. (One of the films winning Honorable Mention in the 1958 Creative Film Awards was ROUND AND SQUARE, a poetic, rhythmic treatment of the dancing lights of cars as they streamed down highways, under bridges, etc.) Instead of trying to invent a plot that moves, use the movement or wind, or water, children, people, elevators, balls, etc. as a poem might celebrate these. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.
Physical freedom includes time freedom - a freedom from budget imposed deadlines. But above all, the amateur film-maker, with his small, light-weight equipment, has an inconspicuousness (for candid shooting) and a physical mobility which is well the envy of most professionals, burdened as they are by their many-ton monsters, cables and crews. Don’t forget that no tripod has yet been built which is as miraculously versatile in movement as the complex system of supports, joints, muscles, and nerves which is the human body, which, with a bit of practice, makes possible the enormous variety of camera angles and visual action. You have all this, and a brain too, in one neat, compact, mobile package. Cameras do not make films; film-makers make films. Improve your films not by adding more equipment and personnel but by using what you have to its fullest capacity.
The most important part of your equipment is yourself: your mobile body, your imaginative mind, and your freedom to use both. Make sure you do use them».
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite.
To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Light Cone and Re:Voir Video.[/vc_column_text][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday 16th September, 20:00 | Serre dei Giardini Margherita, BO
From 22nd September to 27th October | online on MyMovies
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Three films thought and left soundless by Maya Deren (At Land, 1944; A Study in Choreography for Camera, 1945; Ritual in Transfigured Time, 1946) give musicians Francesca Bono (Ofeliadorme) e Vittoria Burattini (Massimo Volume) the chance to create a dialogue with Deren through synth, drums and voice
A project for Archivio Aperto which was born to answer a curatorial question: to which extent abiding by philology and to which instead pushing towards the very experimentation Deren herself inspires through her work?
The idea of the choice we have made after talking to Pip Chodorov and Tavia Ito, it’s that one thing does not rule out the other - it is enough to claim the intentions - because even if Deren’s work was to shutter as a mirror in a thousand pieces we wouldn’t ever stop to look at ourselves in its shards.
Francesca Bono’s intentions are clear: “I understood almost immediately what I wanted to do, a few frames were enough, I soon took sound notes and thought that my friend Vittoria Burattini would have been a perfect “partner in crime” to create a dreamlike and surreal sound. We have both confidence and reciprocal respect. I wanted to pay tribute to Deren, an extraordinary artist who inspired some of my favourite directors, and another musician I admire and with whom I shared a certain kind of poetics. I was looking for a sensorial sabbath, an immersion in the obsessive. I wanted a message to be clear: Women who make.”
Francesca Bono and Vittoria Burattini
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Thursday 16th September, 20.00 - 16mm live screening | Serre dei Giardini Margherita, Bo
From 16th September to 27th October | on MyMovies
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Meshes of the Afternoon is my starting point [...] In such a way that it was not so much discovering a new medium as finally arriving at home, in a world whose vocabulary, syntax, grammar were my mother tongue; which I understood and in which I thought.
Filmed in silence - the soundtrack composed by Teiji Ito was added in 1959 - Meshes of the Afternoon is an anxious and surreal portrait of the inner facets of an individual: neurotic associations, games of shadows and mirrors explore as never before the ghosts of the women's psyche and identity, including sexuality. A poetic psychodrama whose centripetal narrative is modelled on the movements of the director's alter egos - in a continuous extra corporeal connection between the self and the Other - within a suffocating domestic space. An obsessive pursuit that ends with a liberation, from which emerges the Deren subjective experience of the world and the desire to reclaim feminine power.
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To be granted access to the event, a Covid-19 Green Pass is required.
In collaboration with Light Cone e Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Witch's Cradle was filmed at the Guggenheim Gallery during the surrealist exhibition "Art of this Century" and it was assembled long after the director's death by the staff of the Anthology Film Archives.
It was made in 1943 in collaboration with Marcel Duchamp, who appears with actress and protagonist Pajorita Matta: esotericism, the occult world and witchcraft are intertwined, like the string that Duchamp handles.The camera is already a choreographer that follows Matta, who may be playing the role of a witch (or a possessed?) wearing a mark on her forehead with an infinitely repeatable inscription, "The end is the beginning is the end...", in the evocation of that mysterious and divinatory atmosphere that will also be present in her future films.
The genesis of the film draws certainly inspiration from Deren’s experience, since forever fascinated by the statuses of conscience alteration and interested in the psychic mazes. In Autumn 1939, in fact, she started working for the United States writer William Seabrook, who commissioned her some research about witchcraft. Their collaboration did not last very long and came to an end after a period of stay in the writer’s mansion. As she tells in a letter, Deren was asked to undergo some practices of supposed occultism which upset her quite a lot: among these, that of sitting with legs astride on Seabrook’s “witch’s cradle”, “some sort of medieval chair, very narrow, where the witch apprentices had to stay sit to be able to ride a broomstick”.
In collaboration with Re:Voir Video.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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Thursday September 16th, 20:00 – 16mm with live added sound | Serre dei Giardini Margherita, BO
From September 16th to October 27th – Original Version | online on MyMovies
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What I do with my films... I believe they are a woman's film, and I think their specific temporal quality is the quality of a woman's time.
At Land is a dreamlike narrative in which a female character - played by the director - suddenly finds herself on a beach to make a journey, a détour in search of her identity, meeting other people and different versions of herself. Deposited on the seashore by the waves, whose motions are governed by contrary laws, Deren gets up to enter the earthly world: alternating between anachronistic spaces, the subconscious of the protagonist is forced to come to terms with the myopic male vision that dominates society and the dominant film system.
The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.
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Thursday 16th September, 20:30 – 16mm with added live sound | Serre dei Giardini Margherita, BO
From 15th September to 27th October – Original Version | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The fluidity experienced in A Study in Choreography for Camera increases in Ritual in Transfigured Time, Maya Deren's fourth film. The illusion of constant motion is no longer given by the dance of the camera but by the silent chasing and floating of Rita Christiani (a dancer too), who moves from a domestic ritual to a party scene, a hypnotic dance followed by a perpetual fall into the marine world. Described as a "trance-film" by Paul Adams Sitney, the film is orchestrated around Christiani's interacting movements with the other characters - including Deren - who are also dancers, in "a cinematic ritual that is achieved not only in spatial terms, but in terms of a Time created by the camera".
The film was intentionally thought soundless. We hereby present it live at the Serre of the Giardini Margherita in a version with added sound by musicians Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume) within the project SOUND IN TRANSFIGURED TIME in a free interpretation inspired to Maya Deren's dreamlike and surreal world.
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[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Every evening, before going to bed, around two o'clock, Maya Deren went for a walk with her cats along the Hudson River. The Private Life of a Cat was directed with her husband Sasha Hammid and is an "intimate study" of the childbirth of their cat Glamour Girl in their New York flat on Morton Street.
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Friday 17th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Stan Brakhage described it as one of Maya Deren's most personal films: "She is the camera, she's moving, she's breathing in relation to this dancer".
In Meditation on Violence, Maya Deren's camera is guided by the performative gesture of the Chinese boxer Chao Li Chi, in a performance that alternates the traditional training of the Wu-Tang and Shao-Lin schools. A metaphysical meditation that is realised through form, understood as a whole, between slowdowns, still images and imperceptible reiterations.
"The maximum of an extreme becomes its opposite. Here the maximum of violence is paralysis", explains Deren: the metaphysical concepts linked to Chinese boxing are elegantly materialised in the gesture itself and in its making, a privileged means of visual expression.
In collaboration with Light Cone e Re:Voir Video.
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Saturday 18th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]Divine Horsemen. The Living God of Haiti was released posthumously in 1977. Edited by Teiji Ito and his wife, it encloses - in a delicate artistic operation - 50 minutes of the four hours of material shot by Maya Deren during her stay in Haiti - the Haitian Film Footage - during her stay in Haiti, in particular those of 1947 and 1949.
Deren’s Haitian project and ambition have distant origins, rooted primitively in her sensitiveness and predisposition to discovery, in the allure of the universe of Haitian rituals and tradition, shaken since her collaboration with Katherine Dunham. Deren’s first ideas of going on such a Caribbean journey date back to 1941 and they materialized five years later, in 1946, when she meets anthropologists Gregory Bateson and Margaret Mead: in that period they give a strong stimulus to ethnographic research in filmmaking, certain that film is an important tool of anthropological analysis.
In 1947, Deren made her first trip with the aim of making a film that would relate the ritualistic aspect of Western children's games to Haitian rituals. The desire to film 'the logic of voodoo' led her to revise her initial desire into a much larger project which will take the aforementioned name of Haitian Film Footage, including even the pioneeristic idea to found an independent film industry on the island for 16mm productions. She will be back three other times, 21 months overall (the last trip was made at the beginning of 1955) and in 1953 she finishes the detailed anthropological book Divine Horsemen. The Living God of Haiti.
During this long period Deren's anthropological experience, nearly inevitably, is total, matching the director’s exploratory attitude accompanied by her deep and almost obsessive desire to fully understand the dictates of that culture - not by chance, she will be the first white woman to be initiated into the voodoo religion and she will be assigned a spirit guide, Erzulie, the deity of love - without ever betraying it.
Deren marks a new anthropological filmic modality, entirely authorial, which could only be realised through her, in the name of a physical crossing, of a body which is always located at the centre: far enough from scientific practice and close in every sense to mythological practice, as though she was a divine horse-woman herself, a (unique) passage and intimate portal between the Haitian and western worlds. She catches mainly the sances, the possession ceremonies, the holidays (the Mardi Gras): she draws from time to time a proper rhythm and energy, made out of slow motions - on the spasms of the possessed bodies - and stretched durations, newly experimenting about film time and the motoric possibilities of her Bolex camera.
The camera, in fact, is mobile and trundles in a circle, completely submerged in the community: this very immersion, almost a worship, is one of the causes - beside the financial one - which never allowed the director to come to an end of her project, in the utmost difficulty carried by the way the footage should have been edited and showed, both ethically and morally, without betraying the spiritual logic of the Haitian community to which she now belonged, in the full awareness of both weight and responsibility of her own artistic doing.
In collaboration with Light Cone e Re:Voir.
The reservation is free but mandatory for each event. You can reserve your seat on Eventbrite. .
To be granted access to the event, a Covid-19 Green Pass is required.
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Friday 17th September, 20:30 – 16mm live screening | Serre dei Giardini Margherita, BO
From 16th September to 27th October | online on MyMovies
[/vc_column_text][vc_empty_space height="50px"][vc_column_text]The Very Eye of Night was the last film Maya Deren managed to complete, as well as the longest and most expensive of her career: shooting began in 1952, the film was not completed until seven years later. The work is a stylised choreography, a "celestial ballet" made with the students of the Metropolitan Opera Ballet School in New York that depicts cosmic individuals dancing - swimming, flying - in the night.
To render the nocturnal atmosphere, Deren prints the whole film in negative: "If the earth is round and turns what by day is an abyss, by night is heaven; and the life of the day and that of the night are one the negative of the other". With music by Teiji Ito, The Very Eye of the Night is to all intents and purposes a metaphysical visual poem which, also influenced by Haitian culture, embraces a new form of experimentalism from which the primacy of the imagination emerges.
In collaboration with Light Cone e Re:Voir Video.
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Submerged , in the green of the Serre dei Giardini Margherita
soon on www.archivioaperto.it
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A tribute to filmed cats before and after Maya.
The private life of a cat is the starting point of a kitten selection from the Home Movies archive, as filmed between the 1930s and the 1980s. Is it us humans to think to have tamed the cat or is it not the cat to believe to have completely conquered us? A tribute to Maya Deren's huge feline passion.
La selezione sarà presentata come installazione collaterale alle proiezioni in presenza. Sarà diffusa sul sito di Archivio Aperto e attraverso i social networks.
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AMATEUR IS A LOVER
Back To Maya Deren And To Free Cinema
Filmmaker, theorist, activist, dancer, anthropologist, in her short, intense existence Maya Deren opened paths and pointed at roads never walked before she did. Considered to be the godmother of American avant-garde cinema, her work was an incredible source of inspiration for several generations of artists and her influence is still very strong. Today more than ever she is recognized as woman filmmaker capable of establishing herself at a very young age in a male world, a forerunner evading definitions, thus troublesome.
Deren, a gigantic figure of the Twentieth Century as an European relocated in America between the two World Wars, now as then she is a fixed point of return and an unlimited source of inspiration for the production of images, thought and art. For this XIV edition, Archivio Aperto pays tribute to her cinema with a section dedicated to her, Amateur Is A Lover. Indeed, the title recalls Maya Deren’s ideology about freedom, both artistic and bodily, of a cinema without the compulsions of the industry and made with a lightweight camera, her own body, the senses, the mind.
Amateur Is A Lover goes through her complete filmography in the best restored version available, with both live film screenings and online streaming on MyMovies: among the works, an unfinished opus filmed at the Guggenheim Gallery of New York, a “family film” with the cat as a protagonist, a “posthumous” work edited with the footage of the incredible experience in Haiti about dances and voodoo rituals, two documentaries dedicated to Deren’s life and works, a musical operation on three of her soundless films and a reinterpretation of a ravishing text of hers, throughout archive images.[/vc_column_text][vc_empty_space height="50px"][vc_column_text]
MAYA DEREN IN 16MM - LIVE AT THE SERRE OF THE GIARDINI MARGHERITA
Thursday 16th September, 20.00 - reserve your ticket
Meshes of the Afternoon - 1943, 14'
At Land - 1944, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
A Study in Choreography for Camera - 1945, 3' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Ritual in Transfigured Time - 1946, 14' | Live sound curated by Francesca Bono (Ofeliadorme) and Vittoria Burattini (Massimo Volume)
Friday 17th September, 20.00 - reserve your ticket
Amateur is a Lover. Reading Amateur vs Professional - 2021, 5' | Archive selection curated by Home Movies. Voice and sounds di Francesca Bomo.
Meditation on Violence - 1948, 12'
The Very Eye of Night - 1958, 15'
Saturday 18th September, 20.00 - reserve your ticket
Divine Horsemen. The living God of Haiti - 1947-54, 1977, 50'
(O.V. with Italian subtitles)
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In collaboration with Le Serre dei Giardini Margherita/Kilowatt, Light Cone.[/vc_column_text][vc_empty_space height="50px"][vc_column_text][/vc_column_text][/vc_column][/vc_row]"
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