SOURCE: "Out-takes from Maya Deren's Study in Choreography for Camera," in Monthly Film Bulletin, Vol. 55, No. 654, July, 1988, p. 217.

In the following review, O'Pray asserts that the out-takes from Deren's A Study in Choreography for the Camera should be shown with the completed film to show how the film was edited and constructed.

An assembly of out-takes, running about eight times the length, from Deren's A Study in Choreography for Camera. In one way, with their repetition, the out-takes seem to foreshadow the minimalism and serial structures of what came to be called structural film-making as practised by Michael Snow, Peter Gidal and Malcolm Le Grice in the 60s and later. But such reflexivity, and its concomitant anti-content aesthetics, were foreign to Deren; they smacked too much of anti-art and the draining of meaning from film, tendencies for which she had little sympathy. For this reason alone, the out-takes...