Durant offers fictionalized sequences, the biographical equivalent of renactments in documentaries, but doesnt identify them as such, and leaves the sourcing of events and descriptions unclear. April 29]1917 in Kyiv, now Ukraine, into a Jewish family,[6] to psychologist Solomon Derenkowsky and Gitel-Malka (Marie} Fiedler,[1] who supposedly named her after Italian actress Eleonora Duse. Another interpretation is that each film is an example of a "personal film". The institutional subscription may not cover the content that you are trying to access. When her films began to appear in the 1940s, it was still incredibly rare for . Berkeley: University of . The film footage is housed at Anthology Film Archives in New York City. And, in any case, Durant adds, she didnt have the money to finish it. jack senior footballer; umaine graduate board. [27], By her fourth film, Deren discussed in An Anagram that she felt special attention should be given to unique possibilities of time and that the form should be ritualistic as a whole. It explored the fear of rejection and the freedom of expression in abandoning ritual, looking at the details as well as the bigger ideas of the nature and process of change. Deren's Meditation on Violence was made in 1948. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account. Kino has a reputation for releasing quality products that respectfully focus on the history and art of cinema. Maya Deren. Part 2 of the biography follows her transition from Eleanora to Maya, and the creation of her first four films. All rights reserved. Strangers and vague acquaintances stopped her in the street asking how they might see her films, Durant writes. Deren's initial concept began on the terms of a subjective camera, one that would show the point of view of herself without the aid of mirrors and would move as her eyes through spaces. "[35] Her third husband, Teiji It, said: "Maya was always a Russian. Her efforts to promote an independent cinema have inspired filmmakers for over fifty years. [15], After graduation from Smith, Deren returned to New York's Greenwich Village, where she joined the European migr art scene. [5] Meshes of the Afternoon is recognized as a seminal American avant-garde film. An Anagram of Ideas on Art, Form and Film. Her imagination was fertile, but her wide-ranging life was a veritable engine of stories that seemed ready-made to be put on film, with a first-person imaginative inventiveness of a sort that would hardly be found in Hollywood. Maya. Filled with primary documents, incorporating interviews with Alexander Hammid and her large circle of friends and colleagues in the art world, as well as reprints of Maya Derens photography, poetry, essay, and film notes. Select search scope, currently: catalog all catalog, articles, website, & more in one search; catalog books, media & more in the Stanford Libraries' collections; articles+ journal articles & other e-resources Although her film work certainly has had a huge effect on everything from music videos to feature-length cinema, and spanning genres from the dance film to ethnographic documentary, Derens reach extended far beyond her films alone. Choose this option to get remote access when outside your institution. In April, 1945, she made another film, A Study in Choreography for Camera, featuring the dancer Talley Beatty, also a Dunham alumnus, and it attracted attention in the world of dance. In February 1946 she booked the Provincetown Playhouse in Greenwich Village for a major public exhibition, titled Three Abandoned Films, in which she showed Meshes of the Afternoon (1943), At Land (1944) and A Study in Choreography for Camera (1945). Use of this site constitutes acceptance of our User Agreement and Privacy Policy and Cookie Statement and Your California Privacy Rights. A still from Ritual in Transfigured Time, with Rita Christiani, Anas Nin, and Deren in the foreground. Industrial, Educational, and Instructional Television and Latina/o Americans in Film and Television. that Hollywood "has been a major obstacle to the definition and development of motion pictures as a creative fine-art form." She set herself in opposition to the Hollywood film industry's standards and practices. Chao-Li Chi's performance obscures the distinction between violence and beauty. By 1938 Deren left New York to work with the legendary choreographer and ethnographer, Kathryn Dunham, managing her troupe, as detailed in Clark, et al. Owing to legal issues after its producers death, the film didnt show in New York until 1959, at which time it made hardly a ripple. [27] She also regularly explored themes of gender identity, incorporating elements of introspection and mythology. Deren filmed 18,000 feet of Vodou rituals and people she met in Haiti on her Bolex camera. Oxford University Press is a department of the University of Oxford. 346 p. | ISBN: 9780520227323 | 6 x 9 | Illustrations: 38 b/w photographs. Introduction. She wrote a book, Divine Horsemen: The Living Gods of Haiti, about her travels, but she never completed her film. In the spring of 1945 she made A Study in Choreography for Camera, which Deren said was "an effort to isolate and celebrate the principle of the power of movement. According to the earliest program note, she describes Meshes of the Afternoon as follows: This film is concerned with the interior experiences of an individual. Camera Obscura Collective. 35 Copy quote. [16] In his review for renowned experimental filmmaker David Lynch's Inland Empire, writer Jim Emerson compares the work to Meshes of the Afternoon, apparently a favorite of Lynch's.[50]. In 1946, Maya Deren, theorist, poet, and avant-garde filmmaker, wrote a treatise entitled An Anagram of Ideas on Art, Form, and Film. Documentary film narrated by actress Helen Mirren. Like the brightest stars of classic Hollywood, Deren was both too much and too little an actress to ever be anything onscreen but herself. Sitney, P. Adams, ed, The Film Culture Reader, Prager Publishers Inc., New York, 1970 Clark, VV A., Millicent Hodson, and Catrina Neiman, eds. Deren pulls herself up on a hefty bit of driftwood and, peering over its edge, finds herself in a banquet room, at the long table of a dinner party, where she crawls on the tablecloth between the cheerful and unfazed guests. as a poem might celebrate these. Details her formative years consisting of her childhood and education as well as her early publications, poems, and journalism. Some of her movements are controlled, suggesting a theatrical, dancer-like quality, while some have an almost animalistic sensibility as she crawls through the seemingly foreign environments. Copy this link, or click below to email it to a friend. The movie also has elements of erotic fantasy, as when she strolls with a man who turns out to be four different ones (including Hammid and the composer John Cage), she follows Hammid into a cabin and instead finds yet another man there in a bed, andback on the beachshe stumbles upon two women playing chess and joyfully caresses one players head. Emily E Laird. She supported herself from 1937 to 1939 by freelance writing for radio shows and foreign-language newspapers. They have the ability to manifest our dream lives onscreen. Bolex. The concept of working in a multidisciplinary form across media and processes has become more prevalent in modern day culture. Then there is Derens paradigm-shifting anthropological research on Voudoun in Haiti, which, while influenced by founders of the field such as Gregory Bateson and Margaret Mead, modeled an outsider ethnographic approach rejecting the dogmas of the previous generation. cinema as an art, form maya deren | Posted on May 31, 2022 | resultat rugby auvergne 1re srie sams secrtaire mdicale Indeed, the wealth of this material has produced one of the most complete biographies of an artist: The Legend of Maya Deren. A new era of strength competitions is testing the limits of the human body. Shibboleth / Open Athens technology is used to provide single sign-on between your institutions website and Oxford Academic. (Between trips, she made another short dance film, Meditation on Violence.). . Post author: Post published: June 9, 2022 Post category: how to change dimension style in sketchup layout Post comments: coef %in% resultsnamesdds is not true coef %in% resultsnamesdds is not true US$19.95 (pb) (Review copy supplied by University of California Press) [Bolded page numbers refer to the original page numbers of the reproduced version of Deren's essay, "An anagram of ideas on art, form . Though she repudiated any connection of her work to Surrealism, Meshes is at least a work of unrealismof fantasy that explicitly links its action to dreams and imagination. She runs back through the entire sequence, and because of the jump-cuts, it seems as though she is a double or "doppelganger", where her earlier self sees her other self running through the scene. Movement from the wind, shadows and the music sustain the heartbeat of the dream. The film begins with Deren bearing a skein of yarn and, with forced gaiety, recruiting Christiani for its winding (as Nin looms in the background). She seems to be invisible to the people as she crawls across the table, uninhibited; her body continues seamlessly again onto a new frame, crawling through foliage; following the flowing pattern of water on rocks; following a man across a farm, to a sick man in bed, through a series of doors, and finally popping up outside on a cliff. Referred to as poetic psychodrama, the film was ahead of its time with its focus on depicting fragments of the unconscious mind, externalising disjointed mental processes, dreams, and potential drama through poetic cinematic re-enactments brought to life In New York, she took frequent vitamin injections, which likely included amphetamines, from the infamous Dr. Feelgood, Max Jacobson (who also treated John F. Kennedy, Marilyn Monroe, and many other household names before losing his license in the seventies). April 29]1917[1][2] October 13, 1961) was a Ukrainian-born American experimental filmmaker and important promoter of the avant-garde in the 1940s and 1950s. Berkeley: University of California Press, 2001. It seems to investigate the ephemeral ways in which the protagonist's unconscious mind works and makes connections between objects and situations. Her parents were Jewish, prosperous, and educated. This camera was used to make her first and best-known film, Meshes of the Afternoon (1943), made in collaboration with Hammid in their Los Angeles home on a budget of $250. Deren came to Los Angeles with Dunham, where she met and married filmmaker Alexander Hammid, who introduced her to visual media by taking her to foreign films and by teaching her still photography and filmmaking. During that time she also worked as an editorial assistant to famous American writers Eda Lou Walton, Max Eastman, and then William Seabrook. Her writings on the philosophy of art and technology foreshadowed some of the most highly regarded work in the field today, especially with regard to theorizing the historical and technological shifts in the experience of time. Meanwhile, she turned to her mother to pay her utility bill, and she literally asked friends for food. They speak about the difficult project of demythologizing Derens persona while also preserving her legend. Deren was convinced that mass-market films did not fully utilize all the resources of the camera; "she felt that cinema as an art form had scarcely been touched". The figure belongs to dancer and choreographer Talley Beatty, whose last movement is a leap across the screen back to the natural world. Cinema As An Art Form. This Kino blu ray Maya Deren Collection will be one of the premier releases of 2020. Convinced that there was poetry in the camera, she defied all commercial production conventions and started to make films with only ordinary amateur equipment. As with her other films on self-representation, Deren navigates conflicting tendencies of the self and the "other", through doubling, multiplication and merging of the woman in the film. "Cinema As an Art Form," in Introduction to the Art of the . Ad Choices. Deren screened her films on her living room walls to interested audiences, occasionally exhibiting to critics like Manny Farber and James Agee. [3] She combined her expertise in dance and choreography, ethnography, the African spirit religion of Haitian Vodou, symbolist poetry and gestalt psychology (student of Kurt Koffka) in a series of perceptual, black-and-white short films. Lewiston, NY: Edwin Mellon Press, 2002. In 1930, Marie, who was unhappy in the provincial city, took her daughter to Geneva, where the precocious girl was acclaimed as a poet by her classmates and also became an enthusiastic photographer. Maureen Turin's essay, "The ethics of form: structure and gender in Maya Deren's challenge to cinema", marks a welcome turn in the book to film analysis. In the years before World War I there were few people who thought that cinema was or might become an art form. In Meshes, a woman falls asleep at home and imagines an episode involving multiples of herself, a recurring slippage of her house key out of her mouth, a flower that she finds in the street, a knife that she finds on the table, a black-shrouded figure with a mirror for a face, and Hammid himself, who comes home, sees one of the Derens in bed, and approaches her with a tentative eroticism. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Cond Nast. Here you will find options to view and activate subscriptions, manage institutional settings and access options, access usage statistics, and more. [42] The footage was incorporated into a posthumous documentary film Divine Horsemen: The Living Gods of Haiti, edited and produced in 1977 (with funding from Deren's friend James Merrill) by her ex-husband, Teiji It (19351982), and his wife Cherel Winett It (19471999). Its a party scene, shot in her own apartment, featuring the literati and glitterati of her circle (including Howard Moss, then the poetry editor of The New Yorker); its also Derens modern-day filmed adaptation of Antoine Watteaus painting The French Comedians, from around 1720, which shed seen at the Met. A lot of sources give other dates of birth: April 29, 1917. For librarians and administrators, your personal account also provides access to institutional account management. In fact, we do not have a record of Deren having any professional career in dancing but it is known that she for a long time worked as the personal assistant of Kathryn Dunham - writer and dance director. Avant-Garde: The Case of Maya Deren", "Go Inland, young woman! 1961) completed only six films and two monographs in her lifetime, yet she made a huge impact on the history of cinema and the avant-garde specifically. She was always dressed up, talking, speaking many languages and being a Russian."[35]. Discusses film as an independent art form and asserts that it should not be seen as merely a way to illustrate a . She was born in Kyiv, Ukraine and came from a well-regarded Jewish family . Follow. In her Glossary of Creole Words, Deren includes 'Voudoun' while the Shorter Oxford English Dictionary[49] draws attention to the similar French word, Vaudoux. Deren, who conceived Meshes of the Afternoon (Hammid, who did the camera work, credited her as the films artistic creator), is its main actor. According to a review in The Moving Image, "this film emerges from a set of concerns and passionate commitments that are native to Deren's life and her trajectory. Greasing the bodies of adulterers. Edited by Phillip DiMare, 623626. Geller, Theresa L. Maya Deren. In Movies in American History: An Encyclopedia. The sin. Maya is the name of the mother of the historical Buddha as well as the dharmic concept of the illusory nature of reality. Gene Kelley consulted Deren about her work in ' choreocinema ', or dance films which include A Study in Choreography for Camera with Talley Beatty in 1945 and Ritual in Transfigured Time with Rita Christiani, Anais Nin and Frank Westbrook and her 'tour de force' ethnographic footage shot in Haiti during the 1950's.. In 1943, Hammid was hired by the federal Office of War Information, in New York, to make documentaries, Durant writes, that supported the war effort. She described her attraction to Vodou possession ceremonies, transformation, dance, play, games and especially ritual came from her strong feeling on the need to decenter our thoughts of self, ego and personality. The first craving aroused by her silent films is to hear the literal sound of her voice. Invocation: Maya Deren. It does not record an event which could be witnessed by other persons. She certainly didnt invent experimental cinema, nor introduce it in the U.S., but, with this short silent film, Deren became the genres Orson Welles, realizing her own original ideas by a fruitful collaboration with an experienced cinematographer (as Welles did with Gregg Toland) and putting those ideas over by way of onscreen star power. Deren's legacy is palpable in Lynch's will to externalize the psyche through cinema. So far, so goodthe very essence of movies is to be the art for artists who dont have an art. Geller 2011 and Clark, et al. Free shipping for many products! The lightning bolt in this primordial soup of Derens avant-garde celebrity came on February 18, 1946. In this essay, she related how in the 17th century, a division occurred between science, magic, religion, and philosophy, a division she saw . "If cinema is to take place beside the others as a full-fledged art form, it must cease merely to record realities that owe nothing of their actual existence to the film instrument. [10], In 1928, Deren's parents became naturalized citizens of the United States. About the essay & author: Maya Deren was born as Elenora Derenkowsky in Kiev, Ukraine in 1917.In 1922 she moved with her family to the United States. I liked her bohemianismshe had no hours. (She completed it after the first of the 1946 Provincetown Playhouse screenings; it premired on June 1, 1946, and she showed it throughout the year, to warm acclaim.) Maya Deren (born Eleonora Derenkowska, Ukrainian: ; May 12 [O.S. Maya Deren and the American Avante Garde. 1 Maya Deren, An Anagram of Ideas on Art, Form and Film (Yonkers: Alicat Book Shop Press, 1946), 10; in VV A. Clark, Millicent Hodson and Catrina Neiman, eds., The Legend of Maya Deren: A Documentary Biography and Collected Works (New York: Anthology Film Archives/Film Culture, 1988), Volume I, Part 1: Chambers (1941-47), $70. She made several other films before her untimely death at age forty-four. written by experimental filmmaker (of the 1940s and 1950s), Maya Deren, because I have seen her famous film, Meshes of the Afternoon in Film 101B; in this . Deren was a key figure in the creation of a New American Cinema . DICE Dental International Congress and Exhibition. While working as Dunham's assistant, Deren was given access to Dunham's archive which included 16mm documents on the dances in Trinidad and Haiti. As the editors describe in their interview with the Camera Obscura collective in 1977, they set out to document Derens life; and despite the first volume clocking in at over 1200 pages, The Legend remains an incomplete project, stopping at 1947, fourteen years before her death. how much is murr from impractical jokers worth; fanatics cowboys jersey; what kinds of news are most important to you "[30] The compositions and varying speeds of movement within the frame inform and interact with Deren's meticulous edits and varying film speeds and motions to create a dance that Deren said could only exist on film. Perhaps the only book-length study of Deren's films and theories in relation to each other. In Greek myth, Maia is the mother of Hermes and a goddess of mountains and fields. This well-reviewed documentary film contains several interviews with central figures in Derens life such as Jonas Mekas, Stan Brakhage, Alexander Hammid, and others. Essential Deren: Collected Writings on Film contains all of Deren's essays on her own films as well as . Photographed by Hella Heyman. Please subscribe or login. Her influence can also be seen in films by Carolee Schneemann, Barbara Hammer, and Su Friedrich. Meshes, Trances, and Meditations. Monthly Film Bulletin 55.653 (June 1988): 183185. The film's protagonist, played by dancer Rita Christiani, enters the frame and with her arm raised moves towards the room occupied by 'Maya' as if compelled to do so. Deren, as Durant notes, was already deeply devoted to the art of dance, even though she had no training, and she more or less imposed herself on Dunham as a secretary and assistant. [33] It is worth noting that Beatty collaborated heavily with Deren in the creation of this film, hence why he is credited alongside Deren in the film's credit sequence. Her expression seems confused when she sees two women playing chess in the sand. Save Save Cinema as an Art Form For Later. From about 1910, however, signs emerged that cinema was on the road to acquiring some sort of legitimacy. Until now, Maya Deren's essays on the art and craft of filmmaking have not been available in a comprehensive volume equally handy for students . . In 1944 Maya made a film at the Peggy Guggenheim Art of this Century Gallery . We recognize her talent. By signing up, you agree to our User Agreement and Privacy Policy & Cookie Statement. 1, Part 2: Chambers (19421947). Ellen Careys kaleidoscopic self-portraits put her out of synch with many of her peers. It shows a progression from nature to the confines of society, and back to nature. She died in 1961, in poverty and obscurity. Home; About; Program; FAQ; Registration; Sponsorship; Contact; Home; About; Program; FAQ; Registration; Sponsorship . Summary Review--The Film Experience, Chapter 8, Experimental Film and New Media: Challenging Form FILM IN FOCUS: Meshes of the Afternoon Alexander Hammid and Maya Deren's enormously influential experimental film Meshes of the Afternoon (1943) saturates everyday objects and settings with meanings that are obscure to the viewer. 1, Part 1: Signatures (19171942). Like Hiroshima ash and eating in. Sign up for our daily newsletter to receive the best stories from The New Yorker. [43][44][45] All of the original wire recordings, photographs and notes are held in the Maya Deren Collection at the Howard Gotlieb Archival Research Center at Boston University. Her famous essay "Cinematography: The Creative Use of Reality" was first published in 1960 in the journal Daedalus.As well as being a writer, Deren was also a photographer, filmmaker, dancer, seamstress, and a founded of the Creative Film . Maya Deren. It took another batch of independent filmmakersthe young French critics who then became the filmmakers of the French New Waveto export Hollywood successfully from Paris to Greenwich Village (and another Voice critic, Andrew Sarris, to broker the import). She had been interested in that country, and its religious rituals, since her time alongside Dunham; from late 1946 to mid-1947, her intellectual and personal relationship with the anthropologist and filmmaker Gregory Bateson sparked her quasi-ethnographic ambitions to make a film there. 1917d. For instance, extended narrations and detailed descriptions of crucial scenes in Derens life, such as the Hollywood party where she and Hammid met and the Morton Street party at which he decided to leave her, have the feel of literary compositionspersuasive and moving onesbut I found myself wondering which details were Durants inventions and which were nuggets emerging in correspondence, notebooks, interviews, or elsewhere. Certain symbols reoccur on the screen, including a cloaked, mirror-faced figure, and a key, which becomes twinned with a knife. In Haiti she was a Russian. (While filming on the beach at Amagansett, Deren chanced to meet Anas Nin, and they quickly became friends.). Maya Deren, Bruce McPherson (Editor) 4.42. 331pp. The edit is broken, choppy, showing different angles and compositions, and even with parts in slow-motion, Deren is able to keep the quality of the leap smooth and seemingly uninterrupted. I liked her curiosity, her vivaciousness. Documentary, she complained, lacked art and imagination; she envisioned nonfiction filmmaking, of the sort that she was undertaking in Haiti, to be as creative as the fantasies that she filmed at home. And use your freedom to experiment with visual ideas; your mistakes will not get you fired.[37]. A list of these articles are found in: Sullivan, 1997, pp.199-218. ), Maya Deren and the American Avant-Garde, (includes the complete text of Maya Deren's 'An Anagram of Ideas on Art, Form and Film'), Berkeley: University of California Press, 2001 [14] In 1944, Deren filmed The Witch's Cradle in Peggy Guggenheim's Art of This Century gallery with Duchamp featured in the film. She received a master's degree in English literature at Smith College. In early 1943, Derens father died and left her a small sum of money, with which she bought a movie camera, a 16-mm. If you cannot sign in, please contact your librarian. She documented her knowledge and experience of Vodou in Divine Horsemen: The Living Gods of Haiti (New York: Vanguard Press, 1953), edited by Joseph Campbell, which is considered a definitive source on the subject. What made Deren a legend had to do with her powerful persona and leadership in the arts community, gathering around her a cadre of creative people, noted by OPray 1988. As for the specific influence of Derens artistry, it radiated outward in many directions and inspired a wide range of avant-garde filmmakers, such as Shirley Clarke (who began her career with highly aestheticized dance films), Yvonne Rainer (who filmed personal psychodramas), Mekas (who built his first feature around disjointed, B-movie-like fantasies), and Barbara Hammer (who derived from Derens work a radical feminist cinema). 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. This is thought to be inspired by her father who was a student of psychiatrist Vladimir Bekhterev who explored trance and hypnosis as neurological states. Maya Deren. Most of the songs, sayings and even some of the religious terms, however, are in Creole, which is primarily French in derivation (although it also contains African, Spanish and Indian words). The sin. marcosdada. Following her studies in journalism and political science at Syracuse University and NYU in 1936, she went on to pursue a masters degree in English literature from Smith College. The family snuck out of the country in the early nineteen-twenties and made their way to Syracuse, New York, changing their last name to Deren. Despite, or thanks to, her youth, she nearly single-handedly put experimental cinema on the American cultural map, and also became its iconic visual presence. In 1943, she moved to a bungalow on Kings Road in Hollywood[4] and adopted the name Maya, a pet name her husband Hammid coined. 4 At other times, she selected other titles for the screenings as a way of marketing the films and guiding their reception Edited by Bill Nichols. In the Mirror of Maya Deren, 2001. Georges Sadoul said Deren may have been "the most important figure in the post-war development of the personal, independent film in the U.S.A."[30] In featuring the filmmaker as the woman whose subjectivity in the domestic space is explored, the feminist dictum "the personal is political" is foregrounded. The loose repetition and rhythm cut short any expectation of a conventional narrative, heightening the dream-like qualities. By twenty, she had completed her undergraduate degree and was divorced, struggling to support herself as a poet and journalist. 127847737-Cinema-as-an-Art-Form.pdf - Free download as PDF File (.pdf) or view presentation slides online. This kind of Freudian interpretation, which she disagreed with, led Deren to add sound, composed by Teiji It, to the film. 49 Followers. Deren, Maya (1908-1961)Russian-born American experimental filmmaker often cited as the creator of the first film of the American avant-garde and the "choreo-cinema," a collaborative art between the dancer and the camera. [30] Halfway through the film, the sequence is rewound, producing a film loop. A biographical sketch built from nine brief meditations on aspects of Derens history, filmography, and reception. After the October Revolution, her father was conscripted into battle with Bolshevik forces, and Eleanora and her mother endured illness and poverty at home. Enter your library card number to sign in. . In order to support independent film artists, she established the Creative Film Foundation (CFF), which inspired Amos Vogels Cinema 16 as well as the British feminist film collective Circles, among others. Her first, MESHES OF THE AFTERNOON (1943), was made with her husband . They married in 1935, he graduated in 1936, and they moved to Greenwich Village, where he became a labor organizer and she, in the midst of her last year of college at N.Y.U., became a Socialist activist. In 1941, Deren wrote to Katherine Dunhaman African American dancer, choreographer, and anthropologist of Caribbean culture and dancesuggesting a children's book on dance; she later became Dunham's assistant and publicist. " Cinema as an Art Form." New Directions 9. (For the purposes of the movies credits, Deren took the name Maya, and kept it, onscreen and off.) She went on to make several films of her own, including At Land (1944), A Study in Choreography for Camera (1945), and Ritual in Transfigured Time (1946), writing, producing, directing, editing, and photographing them with help from only one other person, Hella Heyman, her camerawoman.
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