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University of Illinois Press, , p. Ceremonial music with voice-overs of excerpts from her monograph are spoken by John Genke and Joan Pape. In , Maya Deren received the first Guggenheim Fellowship for creative work in motion pictures. The High Priestess of Experimental Cinema. Mead stored the original Haitian footage at the American Museum of Natural History together with a duplicate that Deren had agreed to deposit with the institute. This perspective caused her to film in an authentic way, where she captured the imagination of the rituals she observed.
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And it became clear to me that certain fundamentals governing ritual had to be established before any specific statements about Haitian dance could be made to make sense. She argued that there was no personal feeling involved. the process was highly structured. New Falcon Publications, , p. It can be visualized as a series of ice floes on an open sea. The strip of film consists of a series of exposure or snapshots taken at very short intervals so that they record closely successive stages of the movement. University of California Press, , p. Because they embodied the element of a depersonalized individual within the dramatic whole, Deren later came to call the form of her films ritualistic.
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There are numerous possessions in a variety of forms where the individual is dressed in the accoutrements of deity or in ordinary attire. Shots abruptly end without providing adequate context, notably in footage assembled for Trance and Dance in Bali which was of particular interest to Deren. Yale University Press, , p. Prior to publication of Divine Horsemen, Deren explained to Joseph Campbell that the vegetable reference might be an implication of the non-procreative aspects of homosexual relationships but he suggested that she delete a discussion of this.
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