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Frustrated Climaxes: On Maya Deren’s Meshes of the Afternoon and Witch’s Cradle


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.