Maya Deren: American Experimental Filmmakers

Maya Deren was one of the promoters of the most important American experimental filmmakers and entrepreneurs of the 1940s and 1950s. Deren is a multi-genre artist, mainly a filmmaker, but also involved in dance, poetry, and movie theory. In particular, I focus on materials related to film and movie production. Her work includes several images of fabrics and fabrics, and her work has always been aware of the physical elements involved in film production, camera equipment, movie equipment, and the body of the actor .

Prior to being a filmmaker, he was a dancer who worked with influential Catherine Dunham. In this three-minute movie, Dellen tried to combine movies and dance. She was calling a movie, but there would be no existence between them. She collaborated with the dancer Talley Beatty, but she was responsible for the movements of the movie editors and especially at the end of the movie. Like her early movie "Land" (1944), there was a dancer, but he was not alone because of a direct relationship with the camera.

Many experimental films were produced in the US from the 1920s to the 1930s, but with the advent of Maya Deren, this movement gained an important new momentum. Film, Afternoon Net Painting (1943), Alexander Hamid. Deron's movies and works influence the development of American avant-garde filmmaking after the Second World War, with emphasis on inner psychology, dream conditions, and self-quest. Stan Brakhage is another important person in this sport, often called the New American film. The movie can be produced at low cost through inventory of a wide range of cameras and films, 16 mm and 8 mm. In the 1960s New American films expanded to reflect the cultural change of the era with more clear themes such as feminism, homosexuals and lesbians, and multicultural races.

I first wanted to make an important distinction between experimental works such as David Lynch, Maya Delon, Andy Warhol, Un Chien Andalou. Though they are artistic films, they are purely experimental works in a pure sense of luxury art aesthetics. They are both artistic and experimental. We understand that they have their own clearly defined categories in the movie world. With the advent of movies such as Under the Skin (2013), Mulholland Drive (2001), The Great Beauty (2013), The Tree of Life (2011), Anomalisa (2015), Moonlight (2016), The Neon Demon (2016) . Is the boundary between art movies and "other" (commercial) movies moving or ambiguous? This short film is very popular and each one is innovative in its own way. Did they have big commercial success? It does not mean big studio. This type of film, this kind of film is very small in all respects. But this niche is growing and huge