In Meditation on Violence (1948) Deren's camera is motivated by the movement of the performer, Chao Li Chi. This film is marked by a lack of dynamism and mobility that we have come to expect from Deren's camera. It also obscures the distinction between violence and beauty. The shadows on the white wall behind Chi amplify the movement of the Wu Tang ritual. In Meditation on Violence Deren experiments with film time, reversing the film part way through producing a loop. Exhibited forwards and then backwards, the difference in the Wu Tang movements is almost imperceptible.In Meditation on Violence (1948) Deren's camera is motivated by the movement of the performer, Chao Li Chi. This film is marked by a lack of...all »In Meditation on Violence (1948) Deren's camera is motivated by the movement of the performer, Chao Li Chi. This film is marked by a lack of dynamism and mobility that we have come to expect from Deren's camera. It also obscures the distinction between violence and beauty. The shadows on the white wall behind Chi amplify the movement of the Wu Tang ritual. In Meditation on Violence Deren experiments with film time, reversing the film part way through producing a loop. Exhibited forwards and then backwards, the difference in the Wu Tang movements is almost imperceptible.«
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