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Maya Deren (1917–1961) was a Russian-born American filmmaker, theorist, poet, and photographer working at the forefront of the American avant-garde in the 1940s and 1950s. Influenced by Jean Cocteau and Marcel Duchamp, she is best known for her seminal film Meshes of the Afternoon (1943), a dream-like experiment with time and symbol, looped narrative and provocative imagery, setting the stage for the twentieth-century's groundbreaking aesthetic movements and films. Maya Deren assesses both the filmmaker's completed work and her numerous unfinished projects, arguing Deren's overarching aesthetic is founded on principles of incompletion, contingency, and openness. Combining the contrasting approaches of documentary, experimental, and creative film, Deren created a wholly original experience for film audiences that disrupted the subjectivity of cinema, its standards of continuity, and its dubious facility with promoting categories of realism. This critical retrospective reflects on the development of Deren's career and the productive tensions she initiated that continue to energize film.
Regarded as one of the founders of the postwar American independent cinema, Maya Deren was a poet, photographer, ethnographer and filmaker. These essays examine Deren's writings, films, and legacy from a variety of perspectives.
In detailing the relationship of three women filmmakers' lives and films to the changing institutions of the post-World War II era, Lauren Rabinovitz has created the first feminist social history of the North American avant-garde cinema. At a time when there were few women directors in commercial films, the postwar avant-garde movement offered an opportunity. Rabinovitz argues that avant-garde cinema, open to women because of its marginal status in the art world, included women as filmmakers, organizers, and critics. Focusing on Maya Deren, Shirley Clarke, and Joyce Wieland, Rabinovitz illustrates how women used bold physical images to enhance their work and how each provided entrée to her subversive art while remaining culturally acceptable. She combines archival materials with her own interviews to show how the women's labor and films, even their identities as women filmmakers, were produced, disseminated, and understood. With a new preface and an updated bibliography, Points of Resistance simultaneously demonstrates the avant-garde's importance as an organizational network for women filmmakers and the processes by which women remained marginal figures within that network.
Seventy years after his death, the visionary work of Lev Semenovich Vygotsky (1896-1934) continues to have a profound impact on psychology, sociology, education, and other varied disciplines. The Essential Vygotsky selects the most significant writings from all phases of his work, and material from all six volumes of his Collected Works, so that readers can introduce themselves to the pioneering concepts developed by this influential Russian therapist, scholar, and cultural theorist, including: • The cultural-historical approach • The role of language in creating the mind • The development of memory and perception • Defectology (abnormal psychology/learning disabilities/special education) • The Zone of Proximal Development Each section features an insightful introduction exploring relevant aspects of Vygotsky’s life and illuminating the revolutionary historical context in which these writings were conceived. Together, they reflect the studies he was conducting at the time of his death and the pathbreaking clinical observations that made his reputation. For years, these papers were available mainly in hastily translated underground editions; now The Essential Vygotsky distills them into their most accessible form. Readers will be impressed and inspired by his insights, his optimism, his prescience, and his humanity. These papers are particularly relevant for students of developmental psychology, language, special education, and the history of these fields.
· This book is an updated version of a well-received book previously published in Chinese by Science Press of China (the first edition in 2006 and the second in 2013). It offers a systematic and practical overview of spatial data mining, which combines computer science and geo-spatial information science, allowing each field to profit from the knowledge and techniques of the other. To address the spatiotemporal specialties of spatial data, the authors introduce the key concepts and algorithms of the data field, cloud model, mining view, and Deren Li methods. The data field method captures the interactions between spatial objects by diffusing the data contribution from a universe of samples to a universe of population, thereby bridging the gap between the data model and the recognition model. The cloud model is a qualitative method that utilizes quantitative numerical characters to bridge the gap between pure data and linguistic concepts. The mining view method discriminates the different requirements by using scale, hierarchy, and granularity in order to uncover the anisotropy of spatial data mining. The Deren Li method performs data preprocessing to prepare it for further knowledge discovery by selecting a weight for iteration in order to clean the observed spatial data as much as possible. In addition to the essential algorithms and techniques, the book provides application examples of spatial data mining in geographic information science and remote sensing. The practical projects include spatiotemporal video data mining for protecting public security, serial image mining on nighttime lights for assessing the severity of the Syrian Crisis, and the applications in the government project ‘the Belt and Road Initiatives’.
Slumber Party Massacre. Pet Sematary. Near Dark. American Psycho... These horror movies have heavily contributed to pop culture and are loved by horror fans everywhere. But so many others have been forgotten by history. From the first silent reels to modern independent films, in this book you’ll discover the creepy, horrible, grotesque, beautiful, wrong, good, and fantastic — and the one thing they share in common. This is the true history of women directing horror movies. Having conducted hundreds of interviews and watched thousands of horror films, Heidi Honeycutt defines the political and cultural forces that shape the way modern horror movies are made by women. The women’s rights and civil rights movements, new distribution technology, digital cameras, the destruction of the classic studio system, and the abandonment of the Hays code have significantly impacted women directors and their movies. So, too, social media, modern ideas of gender and racial equality, LGBTQ acceptance, and a new generation of provocative, daring films that take shocking risks in the genre. Includes short films, anthologies, documentaries, animated horror, horror pornography, pink films, and experimental horror. I Spit on Your Celluloid is a first-of-its-kind celebration, study, and “a book that needed to be written” (says cult filmmaker Stephanie Rothman). You will never look at horror movies the same way again!
This text aims to offer students of film a quick and easy introduction to 50 films which they are likely to encounter at A level and first year undergraduate level. Each entry offers students a guide to production details, information on the film-maker and the institutional content of the film. It also explores issues of genre and stardom, the social and historical context, and questions of form and content. An introductory chapter introduces students to the core principles of reading films, and each entry ends with a list of other similar films to encourage students to broaden their viewings and knowledge.
In the course of making nearly 400 films over the past 50 years, "Stan Brakhage" became synonymous with independent American filmmaking, particularly its avant-garde component. This major collection of writings draws primarily upon two long out-of-print books--Metaphors on Vision and Brakhage Scrapbook. Brakhage examines filmmaking in relation to social and professional contexts, the nature of influence and collaboration, the aesthetics of personal experience, and the conditions under which various films were made. Brakhage discusses his predecessors and contemporaries, relates film to dance and poetry, and in "A Moving Picture Giving and Taking Book" provides a manual for the novice filmmaker. Lectures, interviews, essays, and manifestos document Brakhage's personal vision and public persona.