{"product_id":"meshes-of-the-afternoon","title":"Meshes of the Afternoon","description":"\u003cp\u003e\u003cspan\u003eAuthors \u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eJohn David Rhodes\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eFormat\u003c\/span\u003e\u003cstrong\u003e\u003cspan\u003e paperback\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eDate \u003c\/span\u003e\u003cstrong\u003e2020\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003eLanguage \u003c\/span\u003e\u003cstrong\u003eEnglish\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan\u003ePages \u003c\/span\u003e\u003cstrong\u003e127\u003cspan\u003e pages\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003ch4\u003eDescription\u003c\/h4\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003e\u003cem\u003eMeshes of the Afternoon\u003c\/em\u003e, filmed in 1943 by Maya Deren and her then husband Alexander Hammid in their bungalow above Sunset Boulevard for a mere $274.90, is the most important film in the history of American avant-garde cinema. The artistic collaboration between Deren and Hammid finds its distorted reflection in the vision of the film's tormented female protagonist. Its focus through a series of intricate and interlocking dream sequences—on female experience and the domestic sphere—links \u003cem\u003eMeshes\u003c\/em\u003e to the Hollywood melodramas of the period, while its unsettling atmosphere of dread, death and doubles makes it a counter-cinematic cousin to film noir. The film has influenced not only the subsequent history of experimental film, but also the work of Hollywood auteurs. It is a touchstone of women's film-making, of modern cinema, and of modern art.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eJohn David Rhodes traces the film's history back into the lives of its makers, in particular that of Deren. He reads the film as a culmination of Deren's abiding interest in modernism and her intense engagement in socialist politics. Rhodes argues that, while the film remains a powerful point of reference for feminist film-makers and experimentalists, it is also an example of political art in the broadest terms.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eIn his foreword to this new edition, Rhodes reflects upon the film's continuing importance for and influence upon feminist and avant-garde filmmaking.\u003c\/p\u003e\n\u003cp class=\"font-claude-response-body break-words whitespace-normal\" dir=\"ltr\"\u003eJohn David Rhodes is Reader in Film Studies and Visual Culture at the University of Cambridge, UK. He is the author of \u003cem\u003eSpectacle of Property: The House in American Film\u003c\/em\u003e (2017) and \u003cem\u003eStupendous, Miserable City: Pasolini's Rome\u003c\/em\u003e (2007), and the co-editor, with Brian Price, of \u003cem\u003eOn Michael Haneke\u003c\/em\u003e (2010), with Laura Rascaroli, of \u003cem\u003eAntonioni: Centenary Essays\u003c\/em\u003e (BFI Publishing, 2011) and, with Elena Gorfinkel, of \u003cem\u003eTaking Place: Location and the Moving Image\u003c\/em\u003e (2011). He is also a founding co-editor of the journal \u003cem\u003eWorld Picture\u003c\/em\u003e.\u003c\/p\u003e","brand":"BFI","offers":[{"title":"Default Title","offer_id":57937693114699,"sku":null,"price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1000\/3034\/9643\/files\/Capture_d_ecran_2026-07-24_a_15.57.53.png?v=1784901518","url":"https:\/\/re-voir.com\/en\/products\/meshes-of-the-afternoon","provider":"Re:Voir","version":"1.0","type":"link"}