![]() ![]() After her family fled to the United States in 1922 to escape antisemitism, she studied journalism and political science at Syracuse University, where she met her first husband, the activist Gregory Bardacke. In particular, the critical comments in her notebooks on the cybernetic anthropology of Gregory Bateson (first published in the magazine October, in 1980), I believe, deserve much more attention than they have received from researchers on culture and cybernetics (the notable exception being Ute Holl’s remarkable 2002 book Cinema, Trance and Cybernetics, originally written in German and published in English in 2017).ĭeren was born in Kyiv, in 1917, as Eleonora Derenkowska. But Deren’s work was not only wild but wildly interdisciplinary, drinking from, as well as collaborating with, radically disparate sources and traditions. But her original contributions to the study of rhythm and dance, and their connection to spirituality and trance, have been overlooked by specialists in those fields, as she remains a figure read almost exclusively by film scholars. Sally Berger has shown how important her work was to later artists, such as Carole Schneemann, Barbara Hammer, and numerous others. ACCORDING TO MAYA DEREN, the Ukrainian-born experimental filmmaker, writer, photographer, and choreographer, “a truly creative work of art creates its own reality.” When a friend once suggested to Deren that she become an anthropologist, given her interest in the field, she insisted that she would never be satisfied in analyzing the nature of an established reality but would always want to make her own.ĭespite the brevity of her career, Deren’s influence as an avant-garde director and film theorist in the 1940s and ’50s is more than safely established. Rudolph,” “Maya Eva Gunst Rudolph,” and “ The Other Maya Rudolph. Maya is sometimes known by the names “Maya e.g. She has contributed writing about Chinese independent cinema to dGenerate Films, Filmmaker Magazine, Radii, ChinaFile, and more. While living in Beijing, Maya directed and produced short films and music videos that have screened at at festivals worldwide. Maya was the bilingual head writer and producer of Zhima Jie, the Chinese language co-production of Sesame Street from 2014-2016. Maya has produced and directed short films and series for Vice Media, Disney/Lucasfilm, UNICEF, American Girl, Mattel, and the Creators Project and has been a post production supervisor on independent features such as The Lovers, Gabriel, Una Noche, and For Ellen among many others. She is an associate producer of A24’s The Last Black Man in San Francisco, a feature directed by Joe Talbot and awarded the US Directing Award at the 2019 Sundance Film Festival. She is a producer of Sandi Tan’s Shirkers, which was awarded the Directing Award for World Documentary Cinema at 2018 Sundance Film Festival, and nominated for Best Documentary at the 2018 Independent Spirit and Gotham Awards. Maya produced The Andy Warhol Diaries, a 2022 Emmy-nominated Netflix original documentary series directed by Andrew Rossi and Executive Produced by Ryan Murphy The Devil Next Door, a Netflix original documentary series directed by Daniel Sivan and Yossi Bloch and Cablestreet (Sundance ‘19) directed by Meredith Lackey and Executive Produced by Field of Vision. ![]() In 2022, Maya joined Louverture Films as Vice President of Non-Fiction. Rudolph is a filmmaker, writer, and producer.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |