neorasum в УрГУ

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[Piano: Classical]

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This is like Holy Grail of cinema.

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These are where
Maya kept her films...

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and actually there are films inside...

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and we don't even know
what they are.

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This is one of the archives where...

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one can still make discoveries,
and one can get...

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excited and in ecstasy!

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[Chuckles]

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There may be some very
interesting discoveries.

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This is the first picture
I took of Maya.

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It must have been a few days
after we met in Hollywood.

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It's already faded a little.

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I was fascinated by her face.

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kind of exotic.

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Maya wasn't always Maya.

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She used to be called Eleanora.

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Her mother used to call her
Elinka in Russian.

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She confided in me that
she was unhappy about her name...

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and she asked me once
to find a name for her.

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So I just went to a library
and looked through a lot ofbooks...

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mainly books on myhology.

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I came across the name Maya
in different connections...

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for instance, with water.

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But Maya also was the name
of mother of Buddha.

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In Hinduism, Maya was
the name of a goddess...

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who holds a veil
in front of our eyes...

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a veil of illusion,
which prevents us from seeing...

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the spiritual reality behind it.

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[Maya Deren] I was a poet
before I was a filmmaker...

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and I was a very poor poet...

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because I thought
in terms of images.

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What existed as essentially
a visual experience in my mind...

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poetry was an effort
to put it into verbal terms.

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When I got a camera in my hand,
it was like coming home.

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It was like doing what I always
wanted to do without the need...

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to translate it into a verbal form.

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[Woman]
She could have been a dancer...

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but that would have taken
full-time work with us.

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And so, she stayed being
a kind of a personal secretary.

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You know, that sort of thing.

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I had to keep my eye
on Maya at times, you know...

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because I don't think I had
a star complex at all...

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but I had to remind her
now and then...

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we were in Hollywood
to begin...

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kind of a new career
for the company.

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Frequently I would ask some of
the Hollywood people to come in.

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And Maya was wonderful
at meeting them at the door...

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and introductions and seating them,
and so forth and so on.

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But the gleam in her eye...

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when the drummers took their positions
and began to play, you know...

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And we'd have our exercise.
Always the drums we were.

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Well, Maya had a habit of...
She was extremely well built as far...

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robust, you know...
and she'd sit there.

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Usually her-her little simple frocks were
quite low cut, in the front anyway.

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And after a while
she couldn't stand it...

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and you could just feel it
growing and growing in her.

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And she turned, I remember...
Her favorite thing was to say...

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"How can you sit still?"

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You know? And then
she'd start in on this sort.

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I was wild,
because I had to find...

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Little by little, I had to
stop it, of course.

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I couldn't have that at all
with these impresarios.

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But who knows? Maybe she helped us
get our Hollywood position.

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The drums really took her over.

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She was possessed by rhythm.

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And you could see it without drums,
without sound or anything else...

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and in the way
she handled her body.

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[Deren] If I did not live in a time when
the film was accessible to me as a medium...

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I would have been a dancer,
perhaps, or a singer.

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My reason for creating them is
almost as if I would dance...

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except this is a much more
marvelous dance.

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It's because in film,
I can make the world dance.

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Actually, this picture
was not planned for the film.

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I just made it
in a spur of the moment.

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I liked the reflections of the trees...

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in the glass in front of her.

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Later on we used to call it
my Botticelli picture...

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because it reminded us
of Italian Renaissance.

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And this one was taken
in New York...

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with our cat, Glamour Girl,
that came with us from Hollywood.

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This was our apartment
in Greenwich Village in Morton Street.

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We had kind of a studio apartment.

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We used it a lot...

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as a location for shooting.

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It had very nice light.

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Large windows to the south.

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And our cats were with us,
of course.

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Maya loved cats.

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Maya liked mirrors very much...

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and used the idea of a mirror
often in her writing.

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Also, the film ends
with a broken mirror.

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Maya was born Eleanora Derenkowski...

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beautiful name... in 1917...

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the year of the Russian revolution,
in Russia...

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in kiev, the great, great capital
of the Ukraine.

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She came out of
a very privileged situation.

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MostJews did not live in the cities...

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but there were
a good number of them.

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What was special about the Derens,
the Derenkowskies...

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is that both parents were
so very highly educated...

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particularly her father,
who was a psychiatrist.

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And they then emigrated
several years later...

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as manyJews did,
to New York.

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I do know how very deeply,
profoundly...

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Maya loved her father
and was influenced by him.

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[Deren]
I am not greedy.

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I do not seek to possess
the major portion of your days.

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I am content if,
on those rare occasions...

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whose truth can be stated
only by poetry...

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you will perhaps recall an image...

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even only the aura of my films.

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[Man] She came from the sea.
If you've ever seen her film At Land...

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she comes out of the sea.

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In her mind,
she was a sea creature.

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Maya's bedroom
was an underwater world.

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It was like a grotto under the sea...

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and it was full of very beautiful objects...

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shells, coral...

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and on the ceiling, there was
a very unusual large painting...

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of underwater creatures.

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And in the normal light,
you would see that...

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but when the lights
were turned off...

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it turned out it was painted
with phosphorescent paint...

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and so suddenly it came to life
with different colors...

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and you really felt as if
you were under the sea at night...

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surrounded by the other
creatures of the sea.

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It was an apartment
oflove and ofbeauty.

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It was predominantly blue.

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That was her favorite color.

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[Deren]
What I do in my films...

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is very...
oh, I think very distinctively...

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I think they are
the films of a woman...

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and I think that their characteristic
time quality...

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is the time quality
of a woman.

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I think that the strength of men...

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is their great sense of immediacy.

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They are a "now'"creature...

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and a woman has strength to wait,
because she's had to wait.

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She has to wait nine months
for the concept of a child.

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Time is built into her body
in the sense ofbecomingness.

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And she sees everything
in terms of it being...

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in the stage ofbecoming.

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She raises a child knowing
not what it is at any moment...

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but seeing always the person
that it will become.

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Her whole life
from her very beginning...

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it's built into her...
is the sense of becoming.

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Now, in any time form,
this is a very important sense.

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I think that my films putting
as much stress as they do...

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upon the constant
metamorphosis...

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one image is always
becoming another.

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That is, it is what is happening
that is important in my films...

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not what is at any moment.

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This is a woman's time sense...

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and I think it happens more in my films
than in almost anyone else's.

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Hella Heyman was
a young still photographer...

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living in Los Angeles.

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She was very close friends with
a woman named Galka Scheyer.

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And Galka was an art dealer.

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She worked with the paintings
of four important...

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and rather unknown painters
at that time in America...

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and that was klee, Feininger,
kandinsky and Jawlenski.

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She was also... Galka...
a friend of Maya and Sasha.

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And that's how the friendship
between the three started.

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Galka was the focal point,
in a certain sense.

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Hella came to New York
at a certain period...

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and stayed with Maya and Sasha
in Morton Street.

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And at that point,
At Land was germinating.

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And as always in Maya's films...

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one person did not have
one function.

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One person did
as much as was needed.

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Hella was camerawoman,
coached by Sasha, incidentally...

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grip, actress, whatever.

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In the scene in At Land
at the beach...

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where there is a chess game
going on...

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the human counterparts for those,
the black and the white figure...

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Hella is the black-haired woman
in that chess game.

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They remained friends for quite
a long while... in fact...

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until the divorce
between Sasha and Maya...

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and eventually the marriage
of Sasha and Hella.

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[Deren] I intended it almost
as a myhological statement...

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in the sense that
folktales are myhological...

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archetypal statements.

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The girl in the film
is not a personal person.

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She's a personage.

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[Arsham] Maya had several projects
that were for some reasons abandoned.

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And the one that most
interested me...

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was to be a film about
children's games.

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For her, it was...

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the ritual
involved in these games.

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And they are very ritualistic...

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and full of the kind of gesture
that has specific meaning.

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And to learn from Maya...

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that this was universal
was a revelation.

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I was a New York street kid. I knew
nothing about what was happening...

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elsewhere in the world.

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But I played
with great affection...

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hopscotch, jump rope,
jacks...

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Jacks is a game... It certainly has
different names elsewhere in the world...

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but it was played, for example,
by my mother in Russia as a young girl.

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[Woman]
She was unusually dressed for those days.

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I think she was just a woman
ahead of her time...

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because many years later, I would often see
somebody dressed just exactly like her...

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even think maybe it was she...

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until she turned around and then
realized that this was... this was her style.

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The clothes were this-this...

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European style
of embroidered blouse...

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that could be worn
off the shoulder...

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and it was like
folksy folk clothes...

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with always...
with a long dirndl skirt.

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It may be that she had
the-the body type...

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of sort of like heavy, heavy hips
and heavy legs...

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00:22:44,596 --> 00:22:47,963
and certainly that kind of skirt
looked much better on her.

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And her hair, of course...
She did have very curly hair...

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which, instead of cutting it off,
as most of us would have done...

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shejust let it be.

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So а la the '60s,
with flower children and stuff.

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In other words, she really
looked like a flower child...

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but this was not
the '60s, this was the '40s.

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[Hammid] Since Maya had
her own experience with dancing...

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she wanted to use film
to express...

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dance ideas in a new way...

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by using the film technique
of editing...

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to free the dancer
from gravity...

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so that the dancer
would seem to be floating...

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by his own power.

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00:24:19,624 --> 00:24:22,889
In New York, she found a young dancer,
Talley Beatty...

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who was willing
to cooperate for free.

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In it we used slow motion...

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and then we hired a cheap
16-millimeter slow-motion camera...

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and used that.

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[Deren] It isn't a problem
of choreographing a dancer.

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It's a problem of choreographing
whatever it is...

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that you have in that frame...

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including the space...

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the trees, the animate
or even inanimate objects.

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And at that moment,
this is where the film choreographer...

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departs a little bit
from the dance choreographer...

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and that is what
I attempted to do...

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00:25:19,718 --> 00:25:22,710
in A Study in Choreography
for Camera.

241
00:25:22,821 --> 00:25:26,814
I retitled it, actually,
Pas de Deux...

242
00:25:26,925 --> 00:25:29,519
because what happens there is that
although you see only one dancer...

243
00:25:29,628 --> 00:25:33,189
the camera is as partner
to that dancer...

244
00:25:33,298 --> 00:25:37,758
and carries him
or accelerates him...

245
00:25:37,869 --> 00:25:40,429
as a partner would do
to the ballerina...

246
00:25:40,539 --> 00:25:43,406
making possible progressions
and movements...

247
00:25:43,508 --> 00:25:46,773
that are impossible
to the individual figure.

248
00:26:51,509 --> 00:26:56,037
Everything that Maya did
in any ofher other films is there...

249
00:26:56,147 --> 00:26:59,981
the condensation, the intensity...

250
00:27:00,085 --> 00:27:04,317
and perfection as a...
as a film like a poem...

251
00:27:04,422 --> 00:27:06,515
something that goes...

252
00:27:09,361 --> 00:27:12,489
Maya said the prose is
narrative-horizontal...

253
00:27:12,597 --> 00:27:14,895
and poetry, song is vertical.

254
00:27:15,000 --> 00:27:18,834
It reaches detail after detail
after detail.

255
00:27:18,937 --> 00:27:21,269
After two minutes
and a half it reaches the point...

256
00:27:21,373 --> 00:27:25,139
that is that intensity from which
it cannot go any further.

257
00:27:25,243 --> 00:27:29,270
Everything is set, exhausted,
the point made, perfect.

258
00:27:29,381 --> 00:27:32,077
[Film Projector Whirring]

259
00:27:54,439 --> 00:27:57,636
[Man] As a kid,
first I got a slide projector.

260
00:27:57,742 --> 00:28:00,267
Then I got a 9 1/2-millimeter
projector.

261
00:28:00,378 --> 00:28:03,609
Then I attended the screenings
of the cine-club...

262
00:28:03,715 --> 00:28:06,980
at the Urania in Vienna.

263
00:28:07,085 --> 00:28:10,179
So it was pretty clear that...

264
00:28:10,288 --> 00:28:13,485
you know,
I was involved with film.

265
00:28:13,591 --> 00:28:16,082
And then what happened was...

266
00:28:16,194 --> 00:28:19,163
when I had to leave Austria...

267
00:28:19,264 --> 00:28:23,132
because Hitler didn't like...
didn't like me...

268
00:28:23,234 --> 00:28:27,068
I came to the United States,
and again...

269
00:28:27,172 --> 00:28:30,664
really, even though
I had to work...

270
00:28:30,775 --> 00:28:34,905
I kept on thinking
about what I could do about film...

271
00:28:35,013 --> 00:28:39,541
and whether it wouldn't be a nice idea
perhaps to start a cine-club.

272
00:28:39,651 --> 00:28:45,487
But then there was this
really, like, a revelation...

273
00:28:45,590 --> 00:28:48,354
namely, there was an announcement
in the papers...

274
00:28:48,460 --> 00:28:52,328
that a woman who I never
had heard of, Maya Deren...

275
00:28:52,430 --> 00:28:56,730
would present her films
at the Provincetown Playhouse.

276
00:28:56,835 --> 00:28:59,099
They had never shown films
before there.

277
00:28:59,204 --> 00:29:02,696
The whole idea of taking over
regular theater...

278
00:29:02,807 --> 00:29:05,071
was very enticing to me.

279
00:29:05,176 --> 00:29:10,239
And I decided that, yes,
I should do the same.

280
00:29:11,549 --> 00:29:14,382
You know, I felt that I was
in the presence, really...

281