The Ukrainian-American avant-garde video artist Maya Deren is going to be in the object of study in the main body of this paper which focuses on the question of what, in particular, makes her representations of femininity outstanding and contrary to the ones in the contemporary woman's film.
As to the structure of the paper at hand, the first part will briefly outline Simone de Beauvoir’s academic theory of femininity, the key aspects of representation of women in woman’s cinema and give information on avant-garde cinema. In the second part, then, Maya Deren's approach to gender will be introduced. Following and based on the first part, the third part will then closely analyze, how femininity is treated in her works and, thus, how it differs from the woman’s film’s approach. Finally, the results will be summarized into a conclusion and an outlook will be offered.
Table of Contents
1.) Introduction
I.) Theoretical Part
2.1.) Simone de Beauvoir
2.2.) The Woman´s Film
2.3.) US-American Avant-Garde / Experimental Film in the 1940s
3.) Maya Deren
3.1.) Femininity in Maya Deren’s Life and Works
II.) Practical Part
3.2.) In Meshes of the Afternoon (1943)
3.2.1.) The Protagonist
3.2.1.1.) The “Mirror-Faced Woman”
3.1.1.2.) Femininity / Masculinity
3.2.2.) In Ritual in Transfigured Time (1946)
3.2.2.1.) Femininities / Masculinity
4.) Conclusion
Bibliography
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