From:
Cinema Journal
Volume 52, Number 3, Spring 2013
pp. 75-98 | 10.1353/cj.2013.0018
Abstract
Abstract:
Maya Deren’s oeuvre includes several unfinished works. This article considers one of those projects, Witch’s Cradle (1943), alongside her most celebrated (and finished) film, Meshes of the Afternoon (1943), to demonstrate how the notion of incompletion functions as part of Deren’s working method and overall aesthetic.
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