The first chapter is a short account of Deren's life and work. The fourth chapter investigates the problems relative to the subject as the movement into the film. The conclusion provides evidence of the richness of the aesthetic proposal of Deren and the revolutionary modernity of her cinema. This results from a persevering experimental working attitude by Deren, using the filmic instrument. Moreover, this form is a function, in its real, physical aspect, of the creative means of the particular art instrument by which it is realized.
Film is a time-space medium.
By pursuing these chosen short films we may notice that the investigation which Maya Deren makes of the cinematografic medium is carried out as a process of definition of film form, such as a proposal of an alternative experience to the audience, consulted to participate actively with cognitive dynamics for the achievement of the filmic text. The work of Maya represents the origin of a different cinematographic sign. A difference which concerns the effects of the artistic work in the meaning of a source of new ideas, and must be measured on the ground of the problematic space which it opens. In the early works of Deren the creation of a new form takes place, implicit in the immense range of the potentiality of the cinematographic means. The different quality of the image, suggested by Deren, results in a transfiguration and overcome of the filmed shots.