Meshes of the Afternoon

Meshes of the Afternoon

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John David Rhodes' illuminating study of Maya Deren's mesmerising shortMeshes of the Afternoon (1943) places the film in the context of European modernism and as a pivotal text for the pre- and post-War history of the cinematic avant garde. Rhodes also explores the film's use of point of view, repetition and visual more

Product details

  • Paperback | 128 pages
  • 134 x 186 x 10mm | 258.55g
  • British Film Institute
  • London, United Kingdom
  • English
  • biography
  • 184457377X
  • 9781844573776
  • 1,093,724

Review quote

'Rhodes' writing is clear, lucid and authoritative...[the book is] accessible for the uninitiated and interesting for the more experienced Deren fan.' - Kieran McGarth, Filmwerk Rhodes, in attending so generously to often neglected elements of Deren's life, with attentive archival research, pulls focus to the complex motivations of an artist for whom filmmaking became the integrated expression of the personal, poetic and political. Illustrated with stunning archival stills and weft with references to previous interpretations and to perceptions of the film as Surrealist or symbolically Freudian (both descriptions Deren resisted with forte), Rhodes' analysis is thorough and discursive, allowing a multitude of voices and divergent points of view to emerge. - Elinor Cleghorn, Viewfindershow more

Back cover copy

?Meshes of the Afternoon (1943) is the most important film in the history of American avant-garde cinema and one of the most significant and influential films in the whole of film history. It was made by Maya Deren and her then husband Alexander Hammid in their bungalow above Sunset Boulevard in Los Angeles for a mere $274.90. The artistic collaboration between Deren and Hammid which was by all accounts harmonious finds its distorted and unhappy reflection in the vision of the tormented female protagonist in Meshes of the Afternoon. The film's focus through a series of intricate and interlocking dream sequences on female experience and the domestic sphere link it to the Hollywood melodramas of the period, while its unsettling atmosphere of dread, death and doubles makes it a counter-cinematic cousin to film noir. The film has made its influence felt not only on the entire subsequent history of experimental film and video production, but also on the work of Hollywood auteurs. It is a touchstone of women's film-making, of modernist cinema and of modern art. John David Rhodes traces the film's history back into the lives of Maya Deren and Alexander Hammid, but in particular that of Deren. He places special significance on the film as a culmination of Deren's abiding interest in modernism and her intense engagement in socialist politics. Rhodes argues that while the film remains a powerful point of reference for the feminist film-makers and experimentalists who have claimed it as their birthright, it also offers itself as an example of political art in the broadest terms. In Rhodes's original study, Meshes of the Afternoon emerges as a film that is not only artistically ingenious, but also rich in historical significance and political potential."show more

About John David Rhodes

JOHN DAVID RHODES ?is Senior Lecturer in Literature and Visual Culture at the University of Sussex. He is the author of Stupendous, Miserable City: Pasolini's Rome (2007) and the co-editor, with Brian Price, of On Michael Haneke (2010), with Laura Rascaroli, of Antonioni: Centenary Essays (2011) and, with Elena Gorfinkel, of Taking Place: Location and the Moving Image (2011). He is also the founding co-editor of the journal World more

Table of contents

Prologue: 'Hollywood, 1943' An Exile A Young Socialist Modernist Commitments With Dunham In Hollywood Couples, Doubles Shadow of Girl Arrives The General Audience and the Particular Filmmaker Reflections and Shadows Particularly Universalshow more