Danzas superpuestas. Chantal Akerman y Maya Deren en torno a "Toute une Nuit"
Starting with an introduction on the unknown figure of Maya Deren and her important cinematographic work, and with an approach to Chantal Akerman’s work and career, this article draws a map between the two filmmakers taking as reference Akerman’s film Toute une Nuit (1982), and lin...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2011
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/9076 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=9076_oai |
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| Sumario: | Starting with an introduction on the unknown figure of Maya Deren and her important cinematographic work, and with an approach to Chantal Akerman’s work and career, this article draws a map between the two filmmakers taking as reference Akerman’s film Toute une Nuit (1982), and linking it to Deren’s Ritual in Transfigured Time (1945-46) and The Very Eye of Night (1952-55), around the concept of “superposed dances”, analyzing both the choreographic work and the multiplicity of identities and dances that –as Sloterdijkian spheres- are reproduced in the three films to the infinity. |
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