Oneiric Reflections and Rebirth of Femininity in Maya Deren’s Meshes of the Afternoon (1943) & At Land (1944)
|Olivia Fredrickson| The cinema of Maya Deren without a doubt captures not only the intrinsic reflections of her consistently shifting identity as a woman and artist, but also the labyrinthic inner workings of the self and psyche. Both of these crucial elements of her cinema and identity… Continue reading
