the difference between the frame and the frame strip — the tripod and a track — standing and walking. Everyone makes a movie as they drive. No single frame holds onto your mind. Driving, I see patterns against other patterns. The fence framing makes the scenic live.

Time is one of the strands of exposure. Short, long. Too much, too little. How we make an emulsion respond to light is a judgement made over time. The table of elements for camera craftsmen is exceedingly small — few basic means of achieving a life.

// Maya Deren. Titarenko. Slow cinema

Maya Deren (1917 – 1961). “was one of the most important avant-garde filmmakers of her time for her use of experimental editing techniques and her fascination with ecstatic religious dances. Deren earned an MA in English literature from Smith in 1939 before joining choreographer Katherine Dunham’s tour. “

“The still photograph is concerned with the isolation of the moment.  The moment is stayed, composed within a stable frame.  Films are concerned with the way in which a moment passes and becomes the next. This metamorphosis cannot be composed within the frame, but only through frames, from one frame to the next.” — Maya Deren

NOTES:

• Brakhage, Stan. “Maya Deren.” In Film at Wit’s End: Eight Avant-Garde Filmmakers (1989): 91–112.
• Clark, VeVe, Millicent Hudson, and Catrina Neiman. The Legend of Maya Deren (1984).
• Deren, Maya. Papers. Department of Special Collections, Mugar Memorial Library, Boston University. NAW modern.
• Obituary. NYTimes, October 14, 1961, 23:4.
• Renan, Sheldon. An Introduction to the American Underground Film (1967).
• Sadoul, Georges. Dictionary of Film Makers (1972).
• Vogel, Amos. Film as a Subversive Art (1974).

• https://saint-lucy.com/essays/maya-deren/

“.. Proust taught me that the only way to communicate and to share what I was feeling with others is the use of the metaphor…” Titarenko

“slow cinema” concept.

• Arnheim R. (1993) From Pleasure to Contemplation. The Journal of Aesthetics and Art Criticism 51: 195-197.
• Bíro Y (2008) Turbulence and flow in film – The rhythmic design. Bloomington: Indiana University Press.
• Boer J (2015) As slow as possible: An enquiry into the redeeming power of boredom for slow film viewers. Unpublished Paper, University of Groningen, Netherlands.
• Doane MA (2002) The emergence of cinematic time – Modernity, contingency, the archive. Cambridge: Harvard University Press.
• Flanagan M (2012) Slow Cinema: temporality and style in contemporary art and experimental Film. PhD thesis, University of Exeter, UK.
• Margulies I (1996) Nothing happens – Chantal Akerman’s hyperrealist everyday. Durham, London: Duke University Press.
• Wollen P (2000) Time in video and film art. In: Capellazzo A (ed) Making time: considering time as a material in contemporary video and film. Palm Beach, Fla.: Palm Beach Institute of Contemporary Art, pp.7-13.