Biography
Arty cowpunk combo shaped within the mid ’80s by ex-Flesheater Chris D.
Quick Facts
Music Songs Snake Handler, Tenderest Kiss, Middle of the Night, Devil's River, Come Into This Place, My Sin, Mother's Worry, Gimme Shelter, Past All Dishonor, Kiss Tomorrow Goodbye, Curse of the Crying Woman, Handful of Sand, Voodoo Idol, Field of Stone, Stone by Stone, Frankie Silver, That's No Way to Live, Love Call, Blind Leading the Blind, What Is Red, Fire Kiss, Superlungs My Supergirl, He Rode Right Out, Too Young to Die, If Only I Could, Someone Like You, Little Sister, Sapphire, It Doesn't Matter, Tenderless Kiss, Sanctuary
Albums Snake Handler, Middle of the Night, Devil's River, Handful of Sand
- Facts
- Filmography
- Awards
- Salaries
- Quotes
- Trademarks
- Pictures
# | Fact |
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1 |
Biography: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945," pp. 222-226. New York: The H.W. Wilson Company, 1987. |
2 |
In 1986, the American Film Institute created the Maya Deren Award to honor independent film and video artists. |
Director
Director
Title | Year | Status | Character |
---|
Divine Horsemen: The Living Gods of Haiti |
1985 |
Documentary original footage |
|
The Very Eye of Night |
1958 |
Short |
|
Ensemble for Somnambulists |
1951 |
Short |
|
Meditation on Violence |
1949 |
Short |
|
Ritual in Transfigured Time |
1946 |
Short |
|
A Study in Choreography for Camera |
1946 |
Short |
|
At Land |
1946 |
Short |
|
Meshes of the Afternoon |
1946 |
Short |
|
The Private Life of a Cat |
1944 |
Short documentary co-director |
|
Witch's Cradle |
1944 |
Short |
|
Writer
Writer
Title | Year | Status | Character |
---|
Divine Horsemen: The Living Gods of Haiti |
1985 |
Documentary book |
|
Maeva |
1961 |
|
|
The Very Eye of Night |
1958 |
Short writer |
|
Ensemble for Somnambulists |
1951 |
Short |
|
Meditation on Violence |
1949 |
Short writer |
|
At Land |
1946 |
Short |
|
Meshes of the Afternoon |
1946 |
Short writer |
|
Actress
Actress
Title | Year | Status | Character |
---|
Ritual in Transfigured Time |
1946 |
Short |
|
At Land |
1946 |
Short |
|
Meshes of the Afternoon |
1946 |
Short |
The Woman |
Cinematographer
Cinematographer
Title | Year | Status | Character |
---|
Divine Horsemen: The Living Gods of Haiti |
1985 |
Documentary original footage |
|
The Very Eye of Night |
1958 |
Short |
|
Meditation on Violence |
1949 |
Short |
|
Editor
Editor
Title | Year | Status | Character |
---|
The Very Eye of Night |
1958 |
Short |
|
Meshes of the Afternoon |
1946 |
Short |
|
Composer
Composer
Title | Year | Status | Character |
---|
Maya Deren, Take 0 |
2012 |
Documentary short |
|
Producer
Producer
Title | Year | Status | Character |
---|
Ensemble for Somnambulists |
1951 |
Short producer |
|
Miscellaneous
Miscellaneous
Title | Year | Status | Character |
---|
Ensemble for Somnambulists |
1951 |
Short choreographer |
|
Thanks
Thanks
Title | Year | Status | Character |
---|
Eschew |
2016 |
Short in memory of completed |
|
Julie's Smile |
2013 |
dedicatee |
|
Reminiscences of Yearning |
2011 |
dedicatee |
|
Satan's Playground |
2006 |
special thanks |
|
Archive Footage
Archive Footage
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# | Quote |
---|
1 |
[on filmmaking] It would be so much easier to be a painter or a writer. You don't have to have equipment. You don't have to do all the things. You're not at the mercy of the laboratories. You're not here and you're not there. It's a terrible pain to be a filmmaker, because you not only have the creative problems, but you have financial problems that they don't have. You have technical problems that they don't have. You have machines that are breaking down in a way that paintbrushes don't break down. It's just a terrible thing to be a filmmaker. And if you are a filmmaker, it's because there is something in the sheer medium that seems to be able to make some sort of statement that you particularly want to make, and which no other medium to you seems capable of making in the same way. |
2 |
Art actually is based on the notion that if you would really celebrate an idea or a principle, you must think, you must plan, you must put yourself completely in the state of devotion, and not simply give the first thing that comes to your head. |
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