Maya Deren’s corpus of work, which has been given various designations within the American avant-garde filmmaking practice of the 1940’s and 1950’s, will be analysed according to the biographical legend—an approach that focuses on authorship within the historical conditions of conception and reception. Influences on her theories in art and ethnography will be noted through several historical discourses: the French Symbolist Poets, Henri Bergson, Kurt Koffka, T.S Eliot, Katherine Dunham, Alexander Hammid, Marcel Duchamp, Joseph Campbell and Gregory Bateson; the synthesis of these ideas within her films will be made apparent. Three major areas, the poetic, the political and the primitive will be used as components of an anagrammatic complex to demonstrate the theory and practice of her work as an artist in flux between dominant representational practices in film and ethnography. Her major theoretical essay, An Anagram of Ideas on Art, Form and Film will introduce the basic structure of her ideas. An analysis of six completed films and work i n progress will be approached through a ‘genetic tracing’ of shooting scripts, releases and historical contexualizations. Work with choreocinema and ritual will be examined as an epistemological break in film form within the avant garde. The Poetic contextualizes key influences behind her use of the poetic idiom in film; the Political examines Deren’s production, distribution, exhibition and articulation of film in periodicals and lecturedemonstrations; The Primitive focuses on Deren’s literal and visual contributions to an understanding of Haitian Voudoun including her participant-observation in a Port-au-Prince hounfor (temple).