<i>Meshes of the Afternoon.</i> 1943. USA. Directed by Maya Deren, Alexander Hammid

Deren, Schneemann, Friedrich, and Hammer Program

Followed by a moderated discussion with Schneemann, Friedrich, and Hammer

Saturday, May 15, 2010, 8:00 p.m.

Theater 1 (The Roy and Niuta Titus Theater 1), T1

Includes the following films:

  • I Was/I Am

    1983. USA. Directed by Barbara Hammer. In her first 16mm film, an homage to Maya Deren, Hammer proudly extracts the key to her motorcycle from her mouth. As Meshes of the Afternoon was Deren’s key to her life as a filmmaker, I Was/I Am is Hammer’s proclamation as a filmmaker and an independent woman. 7 min.

  • Cool Hands, Warm Heart

    1979. USA. Directed by Su Friedrich. Friedrich’s first 16mm film (transferred from Super-8 footage) is the beginning of her lifelong exploration of issues and subjects concerning women’s identity. There are many echoes of Deren’s Meshes of the Afternoon in this film, including its focus on ritual and the interior landscape of the female. Silent. 16 min.

  • Fuses

    1964–66. USA. Directed by Carolee Schneemann. Schneemann’s first film of her autobiographical trilogy was made to depict sexual intimacy and pleasure from a woman’s point of view. Fuses bears traces of Deren's work in its malleable, responsive camera movements and in the artist’s role as both image and image-maker. Silent. 18 min.

  • Meshes of the Afternoon

    1943. USA. Directed by Maya Deren, Alexander Hammid. This first film in Deren’s legacy was unique for its time in that it investigated the interior life of a woman, identity, and performance in front of a camera, using the technology of cinematography and editing to create new film realities. Soundtrack by Teiji Ito added in 1959. 14 min.

Related Publication


Modern Women: Women Artists at The Museum of Modern Art
Edited by Cornelia Butler and Alexandra Schwartz

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In the Film exhibition Maya Deren’s Legacy: Women and Experimental Film

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