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L'Absent: http://thelib.ru/books/obrayen_barbara/neobiknovennoe_puteshestvie_v_bezumie_i_obratno_operatori_i_veschi-read.html http://www.i-u.ru/biblio/archive/o%5Fbrayen/00.aspx http://ahom.ru/news/5901/index.html
L'Absent: 1 00:00:25,825 --> 00:00:28,794 [Piano: Classical] 2 00:01:13,773 --> 00:01:17,709 This is like Holy Grail of cinema. 3 00:01:17,811 --> 00:01:20,507 These are where Maya kept her films... 4 00:01:20,613 --> 00:01:23,013 and actually there are films inside... 5 00:01:23,116 --> 00:01:26,108 and we don't even know what they are. 6 00:01:30,990 --> 00:01:34,016 This is one of the archives where... 7 00:01:34,127 --> 00:01:38,086 one can still make discoveries, and one can get... 8 00:01:38,198 --> 00:01:41,964 excited and in ecstasy! 9 00:01:44,070 --> 00:01:45,970 [Chuckles] 10 00:01:47,040 --> 00:01:50,806 There may be some very interesting discoveries. 11 00:02:43,196 --> 00:02:46,222 This is the first picture I took of Maya. 12 00:02:47,267 --> 00:02:51,533 It must have been a few days after we met in Hollywood. 13 00:02:51,638 --> 00:02:54,038 It's already faded a little. 14 00:02:55,775 --> 00:02:58,300 I was fascinated by her face. 15 00:03:01,314 --> 00:03:03,214 kind of exotic. 16 00:03:11,324 --> 00:03:13,315 Maya wasn't always Maya. 17 00:03:13,426 --> 00:03:15,917 She used to be called Eleanora. 18 00:03:17,163 --> 00:03:21,395 Her mother used to call her Elinka in Russian. 19 00:03:21,501 --> 00:03:24,993 She confided in me that she was unhappy about her name... 20 00:03:25,104 --> 00:03:27,834 and she asked me once to find a name for her. 21 00:03:27,941 --> 00:03:32,071 So I just went to a library and looked through a lot ofbooks... 22 00:03:32,178 --> 00:03:35,579 mainly books on myhology. 23 00:03:35,682 --> 00:03:38,708 I came across the name Maya in different connections... 24 00:03:38,818 --> 00:03:41,252 for instance, with water. 25 00:03:41,354 --> 00:03:46,155 But Maya also was the name of mother of Buddha. 26 00:03:46,259 --> 00:03:49,057 In Hinduism, Maya was the name of a goddess... 27 00:03:49,162 --> 00:03:51,528 who holds a veil in front of our eyes... 28 00:03:53,032 --> 00:03:56,024 a veil of illusion, which prevents us from seeing... 29 00:03:56,135 --> 00:03:59,036 the spiritual reality behind it. 30 00:04:23,096 --> 00:04:25,223 [Maya Deren] I was a poet before I was a filmmaker... 31 00:04:25,331 --> 00:04:27,231 and I was a very poor poet... 32 00:04:27,333 --> 00:04:30,268 because I thought in terms of images. 33 00:04:30,370 --> 00:04:34,329 What existed as essentially a visual experience in my mind... 34 00:04:34,440 --> 00:04:37,273 poetry was an effort to put it into verbal terms. 35 00:04:37,377 --> 00:04:40,312 When I got a camera in my hand, it was like coming home. 36 00:04:40,413 --> 00:04:43,473 It was like doing what I always wanted to do without the need... 37 00:04:43,583 --> 00:04:46,416 to translate it into a verbal form. 38 00:06:25,017 --> 00:06:26,917 [Woman] She could have been a dancer... 39 00:06:27,019 --> 00:06:29,249 but that would have taken full-time work with us. 40 00:06:29,355 --> 00:06:33,951 And so, she stayed being a kind of a personal secretary. 41 00:06:34,060 --> 00:06:36,119 You know, that sort of thing. 42 00:06:38,998 --> 00:06:44,095 I had to keep my eye on Maya at times, you know... 43 00:06:44,203 --> 00:06:47,468 because I don't think I had a star complex at all... 44 00:06:47,573 --> 00:06:50,098 but I had to remind her now and then... 45 00:06:50,209 --> 00:06:53,838 we were in Hollywood to begin... 46 00:06:53,946 --> 00:06:56,437 kind of a new career for the company. 47 00:06:56,549 --> 00:07:01,816 Frequently I would ask some of the Hollywood people to come in. 48 00:07:01,921 --> 00:07:05,448 And Maya was wonderful at meeting them at the door... 49 00:07:05,558 --> 00:07:09,153 and introductions and seating them, and so forth and so on. 50 00:07:09,262 --> 00:07:12,663 But the gleam in her eye... 51 00:07:12,765 --> 00:07:16,462 when the drummers took their positions and began to play, you know... 52 00:07:16,569 --> 00:07:20,767 And we'd have our exercise. Always the drums we were. 53 00:07:20,873 --> 00:07:26,038 Well, Maya had a habit of... She was extremely well built as far... 54 00:07:26,145 --> 00:07:30,047 robust, you know... and she'd sit there. 55 00:07:30,149 --> 00:07:35,280 Usually her-her little simple frocks were quite low cut, in the front anyway. 56 00:07:35,388 --> 00:07:37,879 And after a while she couldn't stand it... 57 00:07:37,990 --> 00:07:40,720 and you could just feel it growing and growing in her. 58 00:07:40,827 --> 00:07:43,295 And she turned, I remember... Her favorite thing was to say... 59 00:07:43,396 --> 00:07:45,990 "How can you sit still?" 60 00:07:46,098 --> 00:07:49,465 You know? And then she'd start in on this sort. 61 00:07:49,569 --> 00:07:51,469 I was wild, because I had to find... 62 00:07:51,571 --> 00:07:53,596 Little by little, I had to stop it, of course. 63 00:07:53,706 --> 00:07:57,198 I couldn't have that at all with these impresarios. 64 00:07:57,310 --> 00:08:01,474 But who knows? Maybe she helped us get our Hollywood position. 65 00:08:15,094 --> 00:08:17,858 The drums really took her over. 66 00:08:17,964 --> 00:08:20,728 She was possessed by rhythm. 67 00:08:20,833 --> 00:08:23,734 And you could see it without drums, without sound or anything else... 68 00:08:23,836 --> 00:08:26,964 and in the way she handled her body. 69 00:08:30,409 --> 00:08:35,073 [Deren] If I did not live in a time when the film was accessible to me as a medium... 70 00:08:35,181 --> 00:08:37,706 I would have been a dancer, perhaps, or a singer. 71 00:08:37,817 --> 00:08:40,911 My reason for creating them is almost as if I would dance... 72 00:08:41,020 --> 00:08:43,580 except this is a much more marvelous dance. 73 00:08:43,689 --> 00:08:47,455 It's because in film, I can make the world dance. 74 00:08:56,536 --> 00:08:59,562 Actually, this picture was not planned for the film. 75 00:08:59,672 --> 00:09:01,640 I just made it in a spur of the moment. 76 00:09:01,741 --> 00:09:04,801 I liked the reflections of the trees... 77 00:09:04,911 --> 00:09:07,209 in the glass in front of her. 78 00:09:07,313 --> 00:09:10,373 Later on we used to call it my Botticelli picture... 79 00:09:10,483 --> 00:09:13,418 because it reminded us of Italian Renaissance. 80 00:09:38,544 --> 00:09:42,776 And this one was taken in New York... 81 00:09:42,882 --> 00:09:47,717 with our cat, Glamour Girl, that came with us from Hollywood. 82 00:09:50,356 --> 00:09:54,759 This was our apartment in Greenwich Village in Morton Street. 83 00:10:06,672 --> 00:10:09,334 We had kind of a studio apartment. 84 00:10:12,311 --> 00:10:14,643 We used it a lot... 85 00:10:16,515 --> 00:10:19,075 as a location for shooting. 86 00:10:22,521 --> 00:10:25,081 It had very nice light. 87 00:10:25,191 --> 00:10:27,386 Large windows to the south. 88 00:10:29,996 --> 00:10:32,487 And our cats were with us, of course. 89 00:10:34,100 --> 00:10:36,159 Maya loved cats. 90 00:10:42,775 --> 00:10:45,005 Maya liked mirrors very much... 91 00:10:45,111 --> 00:10:49,104 and used the idea of a mirror often in her writing. 92 00:10:49,215 --> 00:10:52,844 Also, the film ends with a broken mirror. 93 00:11:34,360 --> 00:11:37,693 Maya was born Eleanora Derenkowski... 94 00:11:37,797 --> 00:11:40,925 beautiful name... in 1917... 95 00:11:41,033 --> 00:11:44,298 the year of the Russian revolution, in Russia... 96 00:11:44,403 --> 00:11:46,963 in kiev, the great, great capital of the Ukraine. 97 00:11:51,610 --> 00:11:54,738 She came out of a very privileged situation. 98 00:11:54,847 --> 00:11:57,179 MostJews did not live in the cities... 99 00:11:57,283 --> 00:11:59,183 but there were a good number of them. 100 00:11:59,285 --> 00:12:02,584 What was special about the Derens, the Derenkowskies... 101 00:12:02,688 --> 00:12:05,714 is that both parents were so very highly educated...
L'Absent: 1 00:00:14,547 --> 00:00:17,607 OUR GUEST TODAY MAY LOOK YOUNG 2 00:00:17,751 --> 00:00:19,116 FOR A PIONEER, 3 00:00:19,252 --> 00:00:21,618 BUT A PIONEER HE IS. 4 00:00:21,755 --> 00:00:24,315 A PIONEER IN MOTION PICTURE TECHNIQUES. 5 00:00:24,457 --> 00:00:26,755 NORMAN McLAREN 6 00:00:26,893 --> 00:00:29,726 OF "THE NATIONAL FILM BOARD OF CANADA" 7 00:00:29,863 --> 00:00:30,727 CREATES 8 00:00:30,864 --> 00:00:32,695 SOME OF THE MOST UNUSUAL MOVIES. 9 00:00:32,832 --> 00:00:37,633 MANY PEOPLE, LIKE ME, THINK THEY'RE WONDERFUL. 10 00:00:37,771 --> 00:00:40,535 OTHER PEOPLE DON'T UNDERSTAND THEM. 11 00:01:21,214 --> 00:01:26,618 THIS IS WHERE I SPEND MOST OF MY TIME IN FILMMAKING, 12 00:01:26,753 --> 00:01:31,122 IN FRONT OF THIS MACHINE, AND BY THIS BENCH. 13 00:01:31,257 --> 00:01:35,125 WITHOUT TAKING THE FILM OUT OF THE MACHINE, 14 00:01:35,261 --> 00:01:38,628 I CAN JUST PULL IT OUT HERE, 15 00:01:38,765 --> 00:01:43,134 AND I CAN DRAW OR SCRAPE AWAY IMAGES HERE, 16 00:01:43,269 --> 00:01:46,636 AND AS SOON AS I'VE SCRAPED AWAY A FEW, 17 00:01:46,773 --> 00:01:51,335 SOMETIMES JUST ONE THAT I SCRAPE, I CAN RUN IT. 18 00:02:25,245 --> 00:02:29,614 [NARRATOR]: THIS IS A PHOTO OF NORMAN McLAREN, THE FILMMAKER, 19 00:02:29,749 --> 00:02:33,617 TAKEN AT HIS CHRISTENING IN STIRLING, SCOTLAND, IN 1 914. 20 00:02:33,753 --> 00:02:36,620 1 9 YEARS AFTER THE BIRTH OF CINEMA. 21 00:02:36,756 --> 00:02:39,623 [McLAREN]: IF THERE'S A TECHNICAL THING INVENTED, 22 00:02:39,759 --> 00:02:46,255 A PERSON WITH AN ARTIST'S NATURE IS LIKELY TO TAKE IT AND USE IT. 23 00:02:46,399 --> 00:02:49,129 YOU'RE GETTING YOUNG ARTISTS USING COMPUTERS, 24 00:02:49,269 --> 00:02:54,639 THEY MAKE A NEW KIND OF ANIMATION, A NEW TYPE OF FILM. 25 00:02:54,774 --> 00:02:58,005 THAT'S THE WAY IT SHOULD BE. 26 00:02:58,144 --> 00:03:00,476 IF I WAS GROWING UP NOW, 27 00:03:00,613 --> 00:03:03,309 I WOULD GO RIGHT IN AND TRY 28 00:03:03,449 --> 00:03:06,418 TO DO THINGS WITH A COMPUTER. 29 00:03:06,553 --> 00:03:10,421 BUT ONE IS A CHILD OF ONE'S AGE. 30 00:03:10,557 --> 00:03:12,787 ONE IS BORN AT A CERTAIN TIME, 31 00:03:12,926 --> 00:03:14,826 ONE USES CERTAIN THINGS. 32 00:03:18,331 --> 00:03:21,767 McLAREN'S CONSCIOUS INTEREST IN THE ARTS 33 00:03:21,901 --> 00:03:23,425 WAS AWAKENED 34 00:03:23,570 --> 00:03:26,095 IN HIS EARLY TEENS WHEN HE READ 35 00:03:26,239 --> 00:03:28,764 A MODERN POEM BREAKING THE RULES 36 00:03:28,908 --> 00:03:31,809 HE WAS BEING TAUGHT AT SCHOOL. 37 00:03:33,246 --> 00:03:36,647 EXCITED BY A CARTOON IN "PUNCH" MAGAZINE 38 00:03:36,783 --> 00:03:38,148 SATIRIZING MODERN ART, 39 00:03:38,284 --> 00:03:40,115 McLAREN BEGAN TO ABSTRACT 40 00:03:40,253 --> 00:03:43,984 HIS SCHOOL DRAWING AND PAINTING PROJECTS. 41 00:03:44,123 --> 00:03:48,526 AT 1 8, McLAREN ENROLLED IN THE "GLASGOW SCHOOL OF ART". 42 00:03:48,661 --> 00:03:51,129 [McLAREN]: I DIDN'T GET ENJOYMENT FROM DRAWING 43 00:03:51,264 --> 00:03:53,630 FROM PLASTER CASTS, OR LIFE MODELS, 44 00:03:53,766 --> 00:03:55,700 OR FROM WHAT I LEARNED. 45 00:03:55,835 --> 00:03:59,999 [NARRATOR]: SO, AFTER ONE YEAR, McLAREN DECIDED TO SPECIALIZE 46 00:04:00,139 --> 00:04:01,572 IN INTERIOR DESIGN, 47 00:04:01,708 --> 00:04:04,905 AND PRODUCED, ACCORDING TO ONE TEACHER, 48 00:04:05,044 --> 00:04:09,003 FANTASTIC SCHEMES FOR INTERIOR DECORATION, FURNITURE, 49 00:04:09,148 --> 00:04:11,582 AND GOODNESS KNOWS WHAT ELSE. 50 00:04:11,718 --> 00:04:14,084 THIS MULTI-SENSORY COCKTAIL BAR
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