2
10
122
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Junzhao
Surname or Business Name
Zhang
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
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2015
Birth Date
1952
Birthplace
China
Death Date
2018
Occupation
Professional title or identity
Filmmaker
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span>Zhang Junzhao was a Chinese film director and screenwriter who was mainly active in the 1980s. A graduate of the Beijing Film Academy and a contemporary of acclaimed directors Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang, Zhang Junzhao was a prominent early member of China's Fifth Generation filmmakers.<br /><br />His 1984 film <i>One and Eight</i> is well known as the film that marked the advent of the Fifth Generation,<sup id="cite_ref-YeZhu2012_2-0" class="reference"></sup><sup id="cite_ref-thepaper_3-0" class="reference"></sup> while <i>The Shining Arc</i> (1988) was selected for competition for the Golden St. George award at the 1989 Moscow International Film Festival.<br /><br /><br /></span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
China
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Zhang Junzhao
Subject
The topic of the resource
Ways of Seeing
Modernity
Contributor
An entity responsible for making contributions to the resource
Zhang Junzhao
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
-
Dublin Core
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Title
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Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
The Artist’s Cut: Sunday Film Screenings – 《一个和八个》One and Eight | 1983 | China | 90mins | Mandarin with English subtitles Directed by Zhang Junzhao
Subject
The topic of the resource
Ways of Seeing
Politics
Description
An account of the resource
18 Jan 2015, Sun 2:00pm<br /><br /><p><em>One and Eight</em> marks a radical departure from traditional filmmaking and the beginning of the “Fifth Generation” in the history of Chinese cinema. Adapted from an epic poem by Guo Xiaochuan, it tells the story of eight criminals and a deserting Chinese officer of the Eighth Route Army caught in the midst of the second Sino-Japanese War.</p>
<p>The film’s outstanding cast includes Tao Zeru, Chen Daoming, and Lu Xiaoyan, art direction by He Qun and cinematography by acclaimed Chinese Director, Zhang Yimou.<br /><br />A public programme of <em>Yang Fudong: Incidental Scripts</em>.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-01-18
Contributor
An entity responsible for making contributions to the resource
Zhang Junzhao
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
-
Dublin Core
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Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Federico
Surname or Business Name
Fellini
Years Affiliated
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2015
Birth Date
1920
Birthplace
Italy
Death Date
1993
Occupation
Professional title or identity
Filmmaker
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span><span>Federico Fellini, Cavaliere di Gran Croce OMRI was an Italian film director and screenwriter known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time.<br /></span></span><br />Fellini began his career as a caricaturist. He later entered the film industry as a screenwriter, working within the much-lauded Italian Neorealist tradition—most notably cowriting Roberto Rossellini’s <em>Rome, Open City</em> (1945) and <em>Paisan</em> (1946)—before eventually creating a cinema entirely his own as a director. While his early films share Neorealist traits, with straightforward narratives and realistic portrayals of ordinary people and their struggles, they also quickly introduced Fellini’s trademark preoccupations. His lifelong love of the circus and the whimsical, carnivalesque theater is on full display in <em>Variety Lights</em> (1950), about a struggling vaudeville troupe, which he codirected with Alberto Lattuada, and <em>La Strada</em> (1954), about the plight of a childlike, clownish woman who performs circus acts. Fantasy has also guided his characters in dreamlike scenarios: <em>The White Sheik</em> (1952) follows a woman’s outlandish pursuit of a romantic hero straight out of a comic strip, while a jaded tabloid journalist’s escapade with a glamorous starlet is as surreal and fantastical as it gets in <em>La Dolce Vita</em> (1960), a film that takes a sharp look at elite society, marking another turn in Fellini’s trajectory.<span><span><br /></span></span>
<p>It was with <em>8 1/2</em> (1963) that Fellini fully exorcised established cinematic conventions. His self-referential masterpiece, about a film director’s struggle with creative block, switches freely between past and present, reality and dream, creating a delirious, stormy dreamscape. Known for his keen interest in Jungian psychoanalysis, he would journey further into the hallucinatory mind with <em>Juliet of the Spirits</em> (1965), about a woman’s path to self-discovery through dreams and visions. Autobiographical and deeply personal threads run throughout his oeuvre, most obviously in <em>I Vitelloni</em> (1953) and <em>Amarcord</em> (1973), inspired by his upbringing in Rimini, a city on the Adriatic coast. The characters brought to life by Marcello Mastroianni in <em>La Dolce Vita</em>, <em>8 1/2</em>, and <em>City of Women</em> (1980) can all be viewed as manifestations of the director himself.</p>
<p>The consistency Fellini achieved was also a result of his enduring collaborations. The actors Mastroianni and Giulietta Masina come to mind instantly—if Mastroianni acts as Fellini’s alter ego, Masina represents the dreamer in him. Nino Rota’s stirring music carries a life of its own, and forms the backbone of Fellini’s cinema. His key writing partners included Tullio Pinelli, Ennio Flaiano, and Brunello Rondi, who contributed to some of his most celebrated works. And Cinecittà’s Rome soundstages provided Fellini with a home base and a malleable dream machine that allowed him to actualize his imagination with no need for compromise.</p>
Country of Practice
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Italy
Public Resource Centre Affiliation
Artist Research Platform
Library
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None
None
Contributor Type
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Federico Fellini
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The topic of the resource
Ways of Seeing
Contributor
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Federico Fellini
-
Dublin Core
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Title
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Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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The Artist’s Cut: Sunday Film Screenings – 《八又二分之一》8½ (Otto e mezzo) | 1963 | Italy | 138mins | Italian with English subtitles Directed by Federico Fellini
Subject
The topic of the resource
Ways of Seeing
Description
An account of the resource
<p><span>11 Jan 2015, Sun 2:00pm</span></p>
<p><span><em>8½</em> is considered to be one of the most influential classic films of world cinema and regarded to be Fellini’s “semi-autobiographical fantasy”. The film depicts Marcello Mastroianni playing the creative struggles of Guido Anselmi, a hugely successful Italian film director embarking on his most ambitious project.<br /><br />A public programme of <em>Yang Fudong: Incidental Scripts</em>.</span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-01-11
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Europe
Contributor
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Federico Fellini
-
Dublin Core
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Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Mu
Surname or Business Name
Fei
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
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2015
Birth Date
1906
Birthplace
China
Death Date
1951
Occupation
Professional title or identity
Filmmaker
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
Fei Mu was born in Shanghai, China in 1906. Before becoming a director, he worked as an assistant of the film pioneer Hou Yao. Known for his artistic style and costume dramas, Fei made his first film, <em>Night in the City</em> (1933), produced by the Lianhua Film Company), at the age of 27, and he was met with both critical and popular acclaim; the film is now lost. Continuing to make films with Lianhua, Fei directed films throughout the 1930s and became a major talent in the industry, with films like <em>Blood on Wolf Mountain</em> (1936) which is often seen as an allegory on the war with Japan, and <em>Song of China</em> (1935), a glorification of traditional values that was part of the New Life Movement. Later, Song of China became one of the few films that had a limited release in the United States. Fei's legacy as one of China's greatest directors was sealed with <em>Spring in a Small Town</em> (1948) about a love triangle in post-war China (it was later remade by Tian Zhuangzhuang in 2002 as Springtime in a Small Town). Director Wong Kar-wai called him the only film poet he knew in China. In 2005, <em>Spring in a Small Town</em> was declared the greatest Chinese film ever made by the Hong Kong Film Critics Society. Fei remained active in this so-called "Second Golden Age" and also directed China's first color film <em>A Wedding in the Dream</em> (1948), which incorporated Beijing Opera and starred Mei Lanfang. Following the Communist revolution in 1949, Fei Mu, along with many other artists and intellectuals fled to Hong Kong. There he founded Longma Film Company (Dragon-Horse Films) with Zhu Shilin and Fei Luyi and produced (under the Longma name) <em>Zhu Shilin's The Flower Girl</em> (1951). Following his death from a heart attack in Hong Kong in 1951 while working at his desk, Fei Mu and his work temporarily fell into obscurity, as much of his filmography was forgotten or ignored on the mainland and rejected by leftists as indicative of rightist ideologies. It was not until the 1980s, when the China Film Archive re-opened after being closed down during the Cultural Revolution, that Fei Mu's work found a new audience. Most significant was a new print made by the China Film Archive from the original negative of <em>Spring in a Small Town</em>.
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
China
Hong Kong
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Fei Mu
Subject
The topic of the resource
Ways of Seeing
Tradition
Contributor
An entity responsible for making contributions to the resource
Fei Mu
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Bing
Surname or Business Name
Wang
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
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2017
Birth Date
1967
Birthplace
China
Occupation
Professional title or identity
Documentary Filmmaker
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<b>Wang Bing</b><span> (China) studied photography at the Lu Xun Academy of Fine Art and cinematography at Beijing Film Academy. He began his career as an independent filmmaker in 1999. Discovered in 2003, West of Tracks is an over 9-hour-long documentary work that encountered a great success internationally. Besides feature documentary (Three Sisters, 'Til Madness), he is also active in video installation (Crude Oil, a 14-hour film), directed several fictions (Brutality Factory, The Ditch) and started a noteworthy work in photography. His work has been selected for presentation and competition in many film festivals where he won a great number of awards. Acclaimed by critics and recognised as one of the most important Chinese artists, documentary makers and film directors of his time, he is being honoured by retrospectives of his entire work in major museum, as recently in Centre Pompidou in Paris, and at the Cinémathèque Royale de Belgique.</span>
Country of Practice
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China
Public Resource Centre Affiliation
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Library
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None
None
Contributor Type
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
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Wang Bing
Subject
The topic of the resource
Experiential
Ways of Seeing
Contributor
An entity responsible for making contributions to the resource
Wang Bing
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
-
Dublin Core
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Title
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Programmes
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Short Description
Reflecting on Mao’s famous saying, “Let a hundred flowers blossom and a hundred schools of thought contend”, Trinh T. Minh-ha’s film—whose title refers in part to a Chinese guessing game—is a unique excursion into the maze of allegorical naming and storytelling in China.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
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Screening: Shoot for the Contents by Trinh T. Minh-ha, filmmaker and writer (Vietnam)
Subject
The topic of the resource
Ways of Seeing
Politics
Description
An account of the resource
<div class="event_single_dates text__exhibitions">7 Jul 2017, Fri 07:30 PM - 09:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><p>Reflecting on Mao’s famous saying, “Let a hundred flowers blossom and a hundred schools of thought contend”, Trinh T. Minh-ha’s film—whose title refers in part to a Chinese guessing game—is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by Tiananmen Square events. It offers at the same time an inquiry into the creative process of filmmaking, intricately layering Chinese popular songs and classical music, the sayings of Mao and Confucius, women’s voices and the words of artists, philosophers, and other cultural workers. Video images emulate the gestures of calligraphy and contrast with film footage of rural China and stylised interviews. Like traditional Chinese opera, Trinh’s film unfolds through “bold omissions and minute depictions” to render “the real in the illusory and the illusory in the real.” Exploring color, rhythm and the changing relationship between ear and eye, this meditative documentary realises on screen the shifts of interpretation in contemporary Chinese culture and politics.</p>
<p class="p1">This Screening is part of the public programme of <span>Ulrike Ottinger: <em>China. The Arts – The People, Photographs and Films from the 1980s and 1990s</em></span>.</p>
</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-07-07
Contributor
An entity responsible for making contributions to the resource
Trinh T. Minh-ha
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
-
Dublin Core
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Programme
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Short Description
Divided in three parts, the film depicts everyday life in Beijing, Sichuan, and Yunnan, being highly sensitive to detail and allowing the viewer to follow Ottinger’s journey almost without commentary.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
China
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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A name given to the resource
Screening: China. The Arts – The People by Ulrike Ottinger, artist and filmmaker (Germany)
Subject
The topic of the resource
Ways of Seeing
Modernity
Description
An account of the resource
<div class="event_single_dates text__exhibitions">10 Jun 2017, Sat 02:00 PM - 06:30 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br />In this four-and-a-half-hour documentary or filmic travelogue, Ulrike Ottinger imparts new ways of seeing a foreign culture. Divided in three parts, the film depicts everyday life in Beijing, Sichuan, and Yunnan, being highly sensitive to detail and allowing the viewer to follow Ottinger’s journey almost without commentary.<br /><p>This screening is specially arranged to provide the opportunity for the audience to experience the work as a full film instead of the divided version installed in the exhibition space.</p>
This screening is a public programme of <em>Ulrike Ottinger: China.The Arts – The People, Photographs and Films from the 1980s and 1990s</em>.</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-06-10
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
-
Dublin Core
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Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Miao
Surname or Business Name
Wang
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2017
Birth Date
1977
Birthplace
China
Occupation
Professional title or identity
Filmmaker
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<b>Miao Wang</b><span> (China) is the award-winning filmmaker behind the critically-acclaimed documentary films </span><em>Beijing Taxi</em><span> (first feature) and </span><em>Yellow Ox Mountain</em><span> which have screened at over 70 international festivals and institutions such as SXSW, and the Guggenheim Museum, with US theatrical release, and broadcast nationwide. Wang just world premiered her sophomore feature-doc </span><em>Maineland</em><span> at SXSW 2017 and took home a Special Jury Award for Excellence in Observational Cinema. </span><em>Maineland</em><span> is part two of her trilogy looking at China’s transformations. She directed </span><em>Made by China in America</em><span>, a short documentary in Morgan Spurlock's acclaimed We the Economy series. Wang is a recipient of grants and fellowship from the Sundance Institute, the Jerome Foundation, New York State Council on the Arts, the Tribeca Film Institute, Tribeca All Access, IFP, and Women Make Movies. She has a BA in Economics from the University of Chicago, and a MFA in Design and Film from Parsons.</span>
Personal Website
Leave blank if not applicable
<a href="http://www.miaowang.com">http://www.miaowang.com</a>
Country of Practice
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United States
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
Miao Wang
Subject
The topic of the resource
Ways of Seeing
Contributor
An entity responsible for making contributions to the resource
Miao Wang
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
North America
-
Dublin Core
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Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Maya
Surname or Business Name
Deren
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
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2017
Birth Date
1917
Birthplace
Ukraine
Death Date
1961
Occupation
Professional title or identity
Filmmaker
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
Maya Deren (1917-61, Ukraine/United States) was one of the most important experimental filmmakers and entrepreneurial promotors of the avant-garde in the 1940s and 1950s. Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer, and photographer. Her influence, especially in independent film, has not only endured but also increased in the decades following her death. She combined her interests in dance, Haitian Vodou and subjective psychology in a series of surreal, perceptual, black-and-white short films. Using editing, multiple exposures, jump cutting, superimposition, slow-motion and other camera techniques to her fullest advantage, Deren created continued motion through discontinued space, with the ability to turn her vision into a stream of consciousness.
Country of Practice
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United States
Public Resource Centre Affiliation
Artist Research Platform
Library
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None
None
Contributor Type
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Maya Deren
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Experiential
Contributor
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Maya Deren
Coverage
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Europe
North America