Astral Serpent
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"I don’t need your respect, excuse me. I’ll take happiness. My happiness, not society’s happiness. I will love a man who pleases me, and please a man who makes me happy - but only as long as he makes me happy, not a moment longer."
Venus in Fur (via fuckyeahgreatplays)
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caerarianrhod:

Maya Deren.
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sombreboite:

Witch’s Cradle. by Maya Deren and Marcel Duchamp, 1943
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megtao:

Maya Deren
megtao:

Maya Deren
megtao:

Maya Deren
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mismodular:

Maya Deren (April 29, 1917, Kiev – October 13, 1961, New York City), born Eleanora Derenkowsky, was an American avant-garde filmmaker and film theorist of the 1940s and 1950s. Deren was also a choreographer, dancer, poet, writer and photographer.
Maya Deren is a legend of avant-garde cinema. She was a key figure in the development of the ‘New American Cinema’. Her influence extends to contemporary filmmakers like David Lynch, whose film Lost Highway (1997) pays homage to “Meshes of the Afternoon” in his experimentation with narration.
About “Meshes of the Afternoon”: One of the most important and influential experimental films of the 20th century, Maya Deren’s 18-minute feminist classic explores the interior images of a woman (played by Deren) whose daydreams restore mystery and danger to the ordinary objects of her everyday life. Deren veers away from plot to advance her view that a film should be like a poem: a deep tissue of images designed to examine a mood or startle us with the strangeness of the things around us. Using film as an artistic medium  rather than as a vehicle for stars or story or action, Deren looks back toward the earlier European avant-garde of such filmmakers as Germaine Dulac, who believed that film most resembled the abstract yet emotional form of music. Deren’s investigation of one woman’s subconscious experience explicitly rejects the linear form of theater and literature in favor of the non-narrative models offered by painting, music, sculpture, or poetry. This alternative view of film as a non-narrative artform was incalculably influential on future filmmakers, and in 1990 Meshes was named to the Library of Congress’s National Film Registry.
Maya Deren lived in Haiti for more than 20 months between the years 1947 and 1954. At the time she was criticized for her subjective ethnography in her writing as well as in her filming. She got the reputation of being the “white voodoo priestess.” Her work in Haiti was considered eccentric and obscure.
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Man ray
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River Tam - Firefly
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Bjork
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”I took this maybe three years ago, on a fashion shoot for Italian Vogue. We developed a romantic story to go with it: a woman comes back to the place where she grew up, and finds it all dusty and falling apart. We shot it in a chateau in Paris. The girl was a model, and it was the only time I worked with her. After this, she disappeared. She was from eastern Europe, Romania maybe, and even the agency could’t find her again. So she’s like a ghost. The picture certainly has a ghostly feeling.” - Ellen Von Unwerth
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Christina Lindberg - Thriller the cruel picture
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lapielquebrilla:

Dead Can Dance.
lapielquebrilla:

Dead Can Dance.