Glasgow Film Theatre
This screening explores the relationship between the human body, motion and technological reproduction, featuring Thom Andersen’s Eadweard Muybridge, Zoopraxographer, (1975) and Maya Deren‘s A Study in Choreography for Camera – Outtakes, (1945).
Andersen’s biography of Muybridge is a re-animation of the latter’s sequential photographs and an examination of their philosophical implications. Deren’s outtakes, meanwhile, offer an intimate insight into how she conceived of the choreographic for filmic space.Programme Thom Andersen, Eadweard Muybridge, Zoopraxographer, 1975. 16mm transferred to HD, 59 min.Maya Deren, A Study in Choreography for Camera – Outtakes, 1945. 16mm transferred to HD, 16 min.
Total running time: 75 min
This screening is part of LUX Scotland’s guest-curated programme for GFT’s Crossing the Line strand and has been selected by artist Emmie McLuskey and researcher Freya Field-Donovan. The screening has been programmed in advance of McLuskey’s up-coming exhibition at Collective, Edinburgh, as part of the Satellites Programme 2018.
Thom Andersen (b.1943) lives and works in Los Angeles. Andersen made his first short films and entered into the LA film scene as a student of USC and UCLA in the 1960s. Andersen’s films include Eadweard Muybridge, Zoopraxographer (1974), Red Hollywood (1996), Los Angeles Plays Itself (2003) and more recently, Reconversão (2012), on the work of Portuguese architect Eduardo Souto de Moura, and The Thoughts That Once We Had (2015), a personal history of cinema loosely inspired by Gilles Deleuze. A published writer since 1966, Andersen has contributed to journals such as Film Comment, Artforum, Sight & Sound and Cinema Scope, and is the author of Slow Writing: Thom Andersen on Cinema (The Visible Press, 2017). He has taught at the California Institute of the Arts since 1987, and was previously on faculty at SUNY Buffalo and Ohio State University.
Maya Deren (1917 – 1961), born Eleanora Derenkowskaia, was one of the most important American experimental filmmakers and promoters of the avant-garde in the 1940s and 1950s. Deren’s first film, Meshes of the Afternoon (1943), endures as one of the most widely exhibited films of experimental cinema. Deren’s other films include At Land (1944), A Study in Choreography for Camera (1945), Ritual in Transfigured Time (1946), Meditation on Violence (1948) and The Very Eye of Night (1952 – 55). In 1947 Deren was awarded the Cannes Film Festival’s Grand Prix Internationale and a Guggenheim Foundation Fellowship.
Deren was also a choreographer, dancer, film theorist, poet, lecturer, writer and photographer.