Maya Derenís "Meshes of the Afternoon" (1943) rejects the influence of traditional Hollywood film structure by abandoning the literary origin of film as well as the visual form our collective socialized mind has come to assume. Derenís medium re-presents expected images and leaves the viewer with a deposit of feelings to develop rather than a packaged meaning that may be taken to its logical end. Accomplished through her Imagist ethos, Deren rearranges conventional verbal and non-verbal language, refusing the one-to-one correspondence between images and their meanings. In the process of interpretation, the spectator recognizes and assembles the elements to reconstruct his or her visual experience. In creating a new transactional pattern between the message and its translation, a social reality which includes a female voice evolves. This paper examines Derenís use of the Imagist aesthetic and its implicit meaning for female representation inside and outside of the film form.
|Presenters:||Brian Boger (Undergraduate Student)
Jennifer LaMarsh (Undergraduate Student)
Jonathan Mannhaupt (Undergraduate Student)
Emily Wilkins (Undergraduate Student)
|Time:||2:45 pm (Session IV)|