Abstract

Over the last few years several essays have been published which include a comparison of Deren’s concept of vertical and horizontal film form with Deleuze’s theory of movement-image and time-image; for example, Annette Michelson’s and Renata Jackson’s essays in Maya Deren and The American Avant-garde and Erin Brannigan’s discussion of Deren’s work in Dancefilm . Given the tentative nature of their comparison this essay will undertake a more systematic review of the relation between film and language which underpins Deren’s and Deleuze’s terminologies and further investigate both similarities and differences between them. The intention is to further clarify Deren’s legacy within experimental film and interdisciplinary discourses