| Display title | Meshes of the Afternoon |
| Default sort key | Meshes of the Afternoon |
| Page length (in bytes) | 1,001 |
| Namespace ID | 0 |
| Page ID | 456391 |
| Page content language | en - English |
| Page content model | wikitext |
| Indexing by robots | Allowed |
| Number of redirects to this page | 0 |
| Counted as a content page | Yes |
| Number of subpages of this page | 0 (0 redirects; 0 non-redirects) |
| Page image |  |
| Edit | Allow all users (infinite) |
| Move | Allow all users (infinite) |
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| Page creator | Robkelk (talk | contribs) |
| Date of page creation | 22:15, 11 January 2019 |
| Latest editor | Robkelk (talk | contribs) |
| Date of latest edit | 00:49, 3 October 2020 |
| Total number of edits | 5 |
| Recent number of edits (within past 180 days) | 0 |
| Recent number of distinct authors | 0 |
Description | Content |
Article description: (description)
This attribute controls the content of the description and og:description elements. | Maya Deren, a Russian Jewish émigré who came to America in the 1920s, and her husband Alexander Hammid crafted a 14-minute experimental film in 1943 that today is acknowledged as one of the classics of avant-garde cinema. Reminiscent of film noir in style and multi-layered in narrative, Meshes of the Afternoon and its symbolism require the audience to have a sense of curiosity and patience to interpret the fragmented imagery of everyday objects – a flower, a key -- and actions – walking up stair, looking out a window -- within sequences that intersperse dreams and reality to create Deren's brand of "feminine poetry." |
