Abstract

Maya Deren's role within the history of the avant-garde is irreducibly tied to the reception of her groundbreaking film, Meshes of the Afternoon. In its avant-garde aesthetics, Meshes challenges the psychic structures of gendered subjectivity. By examining how the film's critique reflected Deren's position as a woman filmmaker, Meshes emerges as a significant work of feminist cinematic autobiography.

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Additional Information

ISSN
1529-1456
Print ISSN
0162-4962
Pages
pp. 140-158
Launched on MUSE
2006-06-28
Open Access
No
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