In this film, I have attempted to place a dancer in a limitless, cinemato-graphic space. Moreover, he shares, with the camera, a collaborative responsibility for the movements themselves. This is, in other words, a dance which can exist only on films The movement of the dancer creates a geography that never was. With a turn of the foot, he makes neighbors of distant places. Being a film ritual, it is achieved not in spatial terms alone, but in terms of a time created by the camera. —Maya Deren on A Study in Choreography for the Camera

Contents:

A Study in Choreography for the Camera, 1945, silent, b/w, 2min30
Ritual in Transfiguresd Time, 1945-46, silent, b/w, 16min
Meditation on Violence, 1948, b/w, 13min
The Very Eye of Night, 1952-55, b/w, 15min