ENDNOTES

1. Scott MacDonald, The Garden in the Machine (Berkeley: University of California Press, 2001). MacDonald’s book is a study of landscape, place and film, but he doesn’t analyze Deren’s work.

2. Maya Deren, "Anagram of Ideas on Art, Form and Film" (1946) reprinted in Maya Deren and The American Avant-Garde, Bill Nichols, ed. (Berkeley: University of California Press, 2001), 8-9.

3. Ibid., 18-19.

4. Ibid., 12.

5. Ibid., 11-13. Renata Jackson, “The Modernist Poetics of Maya Deren,” in Maya Deren and The American Avant-Garde, 58-61. Jackson thinks that Deren’s ideas of memory and simultaneity came from the French philosopher Bergson.

6. Deren, Anagram, 19.

7. Ibid., 15.

8. Ibid., 27, 40.

9. Ibid., 22.

10. Malcolm Andrews, Landscape and Western Art (Oxford: Oxford University Press, 1999), 192-93.

11. Jackson, “The Modernist Poetics of Maya Deren,” 58-62.

12. Andrews, Landscape and Western Art, 195-97.

13. Deren, Anagram, 23-24.

14. Ute Holl, “Moving the Dancers’ Souls,” in Maya Deren and The American Avant-Garde, 157-58.

15. Deren, "Anagram", 16.

16. Maureen Turim, “The Ethics of Form,” in Maya Deren and the American Avant-Garde, 83.

17. Deren, "Anagram", 37, 45.

18. Ibid., 11-13. Nichols, “Introduction,” 8 and Jackson, “The Modernist Poetics of Maya Deren,” 64 in Maya Deren and the American Avant-Garde.

19. Maya Deren, “Cinematography: The Creative use of Reality” (1960) in Film Theory and Criticism: Introductory Readings, 3rd Edition, Gerald Mast and Marshall Cohen, eds. (Oxford: Oxford University Press, 1985), 63.

20. Mark Franco, “Aesthetic Agencies in Flux,” in Maya Deren and the American Avant-Garde, 133-38. For more on the cultural influence of Martha Graham in 1940s New York see:
Stephen Polcari, Abstract Expressionism and The Modern Experience (Cambridge and New York: Cambridge University Press, 1991).

21. Andrews, Landscape and Western Art, 10-34.

22. Catrina Neiman, The Legend of Maya Deren: A Documentary Biography and Collected Works, Vol. 1, Part 2, Chambers (1942-47) (New York: Anthology Film Archives/Film Culture, 1988), 173.

23. Ellsworth J. Snyder, “Chronological Table of John Cage’s Life,” in John Cage: An Anthology, Richard Kostelanetz, ed. (New York: Da Capo Press, 1970, 1991), 36-39.

24. Neiman, The Legend of Maya Deren, Vol. 1, Part 2, 192, 209-10.

25. Ibid., 102. Holl, “Moving the Dancers’ Souls,” 163.

26. Shelley Rice, “Inverted Odysseys,” in Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman (Cambridge, MA: MIT Press, 1999), 17. Deren, "Anagram", 45-46.
Annette Michelson, “Poetic and Savage Thought: About Anagram,” in Maya Deren and the American Avant-Garde, 37.

27. Tim Cresswell and Deborah Dixon, eds., Engaging Film: Geographies of Mobility and Identity (Lanham, Maryland: Rowman and Littlefield, 2002), 4.

28. Andrews, Landscape and Western Art, 144.

29. Deren, "Anagram", 25.

30. Lauren Rabinowitz, Points of Resistance: Women, Power and Politics in the New York Avant-Garde Cinema (Chicago: University of Illinois Press, 1991, 2003), 65-67.

31. Andrews, Landscape and Western Art, 179.

32. Neiman, The Legend of Maya Deren, Vol. 1, Part 2, 173. At Land was made in 1944 from July-November. Indoor scenes were shot in the fall. D-Day was June 6, 1944.

33. Rabinowitz, Points of Resistance, 65-67. Rabinowitz suggests that the title At Land is a play on the words “at sea,” which means on the ocean or lost and bewildered.

33. Stan Brakhage, “Maya Deren,” Film at Wit’s End: Eight Avant-Garde Filmmakers (Kingston, NY: McPherson and Co., 1989), 109.

34. Neiman, The Legend of Maya Deren, Vol. 1, Part 1, 194.
Deren called At Land a mythological voyage of the century.

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