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 should be shown with the completed film, also to demonstrate editing techniques and film construction—in other words, the raw materials of artistic production.

Part of the film was shot in the Egyptian Hall of the Metropolitan Museum of Art. Deren later discussed her use of the wide-angle lens in order to achieve effects of scale and internal speed within the sequence. The out-takes, it is worth pointing out, reveal Deren's insistence on meticulous planning of the visual ideas for her films prior to shooting. The strong rationalist, classicist trait in Deren's aesthetic is no more clearly demonstrated than in this selection, as it were, from the director's sketchpad.