Kenneth Anger

Total Page:16

File Type:pdf, Size:1020Kb

Kenneth Anger Kenneth Anger Bibliography Books and Catalogues 2017 LaVey, Anton and Mansfield, Jayne: “California Infernal”, introduction by Kenneth Anger, trapart Ed, Stockholm. 2012 Hunter, Jack: “Black Leather Lucifer: The Films Of Kenneth Anger (Cult Movie Files)”, London, Glitter Books. 2011 Hutchison, Alice (ed.): “Kenneth Anger: a demonic visionary”, London, Black Dog Publishing. 2009 Toder, Elisabeth-Anne: “Der stumme Körper: Zur Darstellung bei Kenneth Angers FIREWORKS und SCORPIO RISING”, Saarbrücken, VDM Verlag. 2002 Hunter, Jack (ed): “Moonchild. The Films Of Kenneth Anger: Persistence of Vision Volume 1”, London, Creation Books. Rowe, Carel: “Myth And Symbolism In The Work Of Kenneth Anger”, Rapid Eye 3, London Creation Books. 1999 Assayas, Olivier: “Éloge de Kenneth Anger: Vraie et fausse magie au cinema”, Paris, Cahiers du cinema. Hecker, Pierre: “Les films “magicks” de Kenneth Anger (Classique de l’Avant-Garde)”, Paris, Éditions Paris Expérimental. 1995 Landis, Bill: “Anger: The Unauthorized Biography of Kenneth Anger”, Hammersmith, Harpercollins Burger-Utzer, Brigitte & Donnenberg, Wilbirg. (ed.): “Icons”, Wien, VPS Verleger. 1989 Pilling, Jayne & O'Pray, Michael: “Into The Pleasure Dome: The Films Of Kenneth Anger”, London, BFI. 1984 Anger, Kenneth: “Hollywood Babylon II”, New York, EP Dutton. 1975 Anger, Kenneth: “Hollywood Babylon”, New York, Dell Publishing. 1959 Anger, Kenneth: “Hollywood Babylone”, Paris, J.J. Pauvert. Selected Articles and Reviews 2018 Jovanovich, A. ‘Black Light: Secretive Traditions in the Arts since the 1950s’, Artforum International, vol. 56, no. 9, May 2018, p. 119. Nilgol, K. ‘Fem Favoritter’, Billedkunst, no. 6, Winter 2018, pp. 11 – 20. Zahm, O. and Butler, B. ‘Los Angeles Underground. Interview with Kenneth Anger’, Purple, issue 30, Fall/Winter 2018/2019, pp. 366 – 371. 2017 Osterweil, A. ‘America Year Zero: Ara Osterweil on Kenneth Anger’s Fireworks (1947)’, Artforum Vol.55, No.5, January 2017, pp.190-91. Baum, G. ‘Hollywood babylon’ Author Kenneth Anger Isn’t Surprised by Harvey Weinstein: Showbiz Is a “Synonym for Sin”’, The Hollywood Reporter, 9 November 2017. 2016 Spiotta, D. ‘LA Confidential: Shining a light on sleaze and murder in Tinseltown’, Bookforum, Vol.23, issue 2, June/ July/ August 2016, p.24 Freeman, N. ‘The Devil in the Details: Kenneth Anger, the Inventor of a Celluloid Avant-Garde, Nears 90’, ArtNews, online, 23 February 2016. Hinrichsen, J. ‘Models am Pool’, Der Tagesspiegel, no 22878, 13 September 2016, p. 20. Grissemann, S. ‘Outside In. Wie sich Kaliforniens experimentelles Kino sett je an Hollywood gebunden sie’, Kunstforum International, issue 238, February – March 2016, pp. 68 – 87. ‘Mit Film’, Monopol Special Issue Berlin Art Week, September 2016, p. 14. Rebhandi, B. ‘Künstlerfilme im Kino International’, Tip Berlin, vol 45, issue 19/2016, 8 Sepetmber – 21 September 2016, p. 24. ‘Sympathy for the Devil’, Interview, March 2016, p. 80 2015 Büsing, Nicole, Klaas, Heiko: ‘Dämmerung im Engadin’, Tagesanzeiger, online, 30 June 2015. Eastham, Ben: ‘Art Basel: Ben Eastham selects his highlights of the fair’, Apollo, Vol. CLXXXI, No. 632, June 2015, pp.58-59 2014 Brown, Mick: ‘Kenneth Anger: Where The Bodies Are Buried’, Esquire, online, 4 January 2014. 2013 Aitken, Doug: ‘Interview by Doug Aitken: Kenneth Anger’, Station to Station, September 2013. Ellen, Tom: ‘Meet the Original Hollywood Maverick’, Shortlist, 11 April 2013, p.17. Giles, Jane: ‘In the Frame: Look Back with Anger’, Sight & Sound, May 2013, pp.10-11. Grau, Doatien: ‘Interview with Kenneth Anger’, Another, 5 September 2013. Harlan Rohleder, Jorg, ‘Wer Hat Angst Vor Kennth Anger?’, Interview, March 2013, pp.110-115. Joyard, Olivier: ‘Le diable au corps’, Cinema, No. 26, Autumn/Winter 2013. Keating, Fiona: ‘Icons: Kenneth Anger’, Beige Magazine, online, April 2013. Marraro, Elisa: ‘Seven Wonders’, Wonderland, April-May 2013, pp.28-29. Michael, Chris: ‘How I made… Lucifer Rising’, The Guardian – G2, 23 July 2013, p.20. Mueller, Maike,: ‘Eine Galerie – Drei Künstler’, online, 1 February 2013. Needham, Alex: ‘This much I know: Kenneth Anger’, The Observer Magazine, 20 October 2013, pp.12-13. Nilsson, Helena: ‘Kenneth Anger’s ICONS at Sprüth Magers Berlin’, The Blogazine, 20 February 2013. Perlson, Hili: ‘Kult of Kenneth Anger’, Sleek, No. 37, Spring 2013, pp.244-247. Pofalla, Boris: ‘Kenneth Anger im Interview’, Monopol, online, 1 Feburary 2013. Rappolt, Mark: ‘Power 100 Introduction: What are ArtReview and its panel thinking about when they compile the list? Why do they compile it in the first place? What does the list tell us? And is it very wrong to sometimes feel like the Queen of England?’, Art Review, Vol. 65, No. 8, pp.100, 109, 116, 127, 134. Riefer, Birgit: ‘Süchtig nach Applaus’, Tagesspiegel, online, 24 April 2015. Sullivan, Chris: ‘Kenneth Anger: Interview’, Jocks&Nerds, Autumn 2013, pp.132-137 Urban, Daniel: ‘Kenneth Anger: Scorpio Rising’, Schirn Magazin, online, 26 August 2013. Townsend, Christopher: ‘Kenneth Anger: Icons’, Art Monthly, May 2013. Venker, Thomas: ‘Kenneth Anger: Der Spiegel Hollywoods’, Intro, online, 13 February 2013. 2012 Lange, Christy: ‘Ten Years. Remembering 9/11: how exhibitions in New York and Berlin commemorated the tenth anniversary of the attacks’, in Frieze, issue 144, January/ February 2012. Thorne, Sam: ‘Secret Societies’, Frieze, issue 145, March 2012. 2010 Flynn, Paul: ‘Kenneth Anger’, i-D, Summer, 2010, pp.166-169. Lock, Issac: ‘Magick Man. Kenneth Anger’, New York Times, T Magazine, 18 March 2010. Joyard, Olivier: ‘The Devil Inside’, Numéro, April 2010, pp. 12-13. Interview by Cerith Wyn Evans and Hans Ulrich Obrist, Tank, volume 6, issue 3, 2010, p. 125. Hattenstone, Simon: ‘No, I’m not a Satanist’, The Guardian, g2, 11 March 2010, pp. 19-21. 2009 Greenberg, David: “Kenneth Anger”, in Art in America, No. 6, 2009, p. 188. “Kenneth Anger (1930-)”, in Sight and Sound, September 2009, p. 23. Rayns, Tony: “Inflammable Desires”, in Sight and Sound, July 2009, pp. 32-36. “Do Look Back In Anger”, in Modern Painters, March 2009, p. 14. Rebhandl, Bert: “Magie, Sex und Selbstdisziplin”, in Berliner Zeitung, No. 151, 2nd July 2009. Daghild Bartels: “Source Codes”, in ARTnews, reviews: international, volume 108 / no. 9, October 2009, pp. 141-142. 2008 Eaton, Thomas: “1000 Words. Kenneth Anger talks about ICH WILL!”, in Artforum International, Vol. 47, No. 1, September 2008, pp. 412-415. Eaton, Thomas: “Les infos de l'enfer: cinema, messianism and crime”, in Parkett, No. 83, pp. 197- 201. Roberts, Alice: “The Secret Masterpieces of Cinema”, in Aesthetica online. 2007 Davies, Jon: “Kenneth Anger Me”, in C Magazine, No. 93., Spring 2007, pp. 7-8. Gunning, Tom: “Magick Weapon”, in Artforum online, March 2007. Lebensztejn, Jean-Claude: “Trois Fois Lucifer”, in Cahiers du Musée National d'Art Moderne, No. 99, Spring 2007, pp. 4-13. 2006 Brook, Vincent: “Puce Modern Moment: Camp, Postmodernism, and the Films of Kenneth Anger”, in Journal of Film and Video, Vol. 58, No. 4, Winter 2006, pp. 3-15. 2004 Bhattacharya, Sanjiv: “Look Back At Anger”, in The Guardian online, 22nd August 2004. Bhattacharya, Sanjiv: “Look Back At Anger”, in The Observer, August 2004. Hawkins, Richard: “Postmortem. Devil May Sign”, in ArtUS, No. 3, August 2004, pp. 44-45. Hunt, Ian: “Kenneth Anger”, in Art Monthly, No. 280, p. 39. Ward, Ossian: “Kenneth Anger”, in Flash Art, November-December 2004, p. 73. White, I.: “Devil In The Detail”, in Art Review, September 2004, p. 22. 2003 Hutchison, Alice: “Kenneth Anger”, Contemporary, No. 57, pp. 52-53. Moore, Rachel: “Cultural Bolshevism at Capital's Late-Night Show: Scorpio Rising”, in Afterall, No. 7, pp. 72-77. 1997 Frumkes, Roy: “Look back with Kenneth Anger”, in Films in Review, Vol. 48, January- February 1997, pp. 16-18. 1996 Simon, Jason: “Kenneth Anger”, in Frieze Magazine, Issue 29, June-August 1996. Stein, Jean: “Kenneth's Anger's Icons”, in Grand Street, No. 57, Summer 1996, pp. 181- 192. 1995 Althen, Michael: “Ikonen von Pop und Poesie: Der Kultregisseur und -autor Kenneth Anger in Wien”, in Süddeutsche Zeitung, 14th June 1995. 1994 Cagle, Robert L.: “Auto-eroticism: narcissium, fetishism, and consumer culture”, in Cinema Journal, Vol. 33, Summer 1994, pp. 23-33. 1989 Ashmun, Dale: “Interview With Kenneth Anger”, in Pat Hollis & Jack Stevenson (eds), Pandemonium 3. 1986 Haller, Robert: “Kenneth Anger”, in The Equinox, 2 (10), pp. 239-251. 1985 Sharrett, Christopher: “Hollywood Babylon II”, in Film Quartely, Autumn 1985, Vol. 39, No. 1, p. 58. 1983 “Correspondence between Kenneth Anger and Paul Johnston”, in Film Culture, No. 70- 71, pp. 213-234. 1982 Rayns, Tony: “Elusive Lucifer”, in Monthly Film Bulletin, September 1982. Wees, William C.: “Before Lucifer: Preternatural Light in the Films of Kenneth Anger”, in Cinétracts, No. 17, Summer-Fall 1982, pp. 25-31. 1981 Hoberman, John: “Sympathy for the Devil”, in American Film, March 1981, p. 78. Saslow, James M.: “Kenneth Anger: Holding a Magick Lantern Up to the Future”, in Advocate, Issue 322, p. 40. 1979 DeBrier, Samson: “On the filming of Inauguration of the pleasure dome”, Film Culture, No. 67-69, pp. 211-215. Keller, Marjorie: “Rabbit's moon by Kenneth Anger”, in Film Culture, No. 67-69, pp. 200- 210. 1976 Baker, Roland: “The Trials Of Lucifer”, Interview with Kenneth Anger in The SoHo Weekly News, Oct 28. 1974 Rowe, Carel: “Illuminating Lucifer”, in Film Quarterly, Summer 1974, Vol. 27, No. 4, pp. 24- 33. 1973 Mekas, Jonas: “Interview With Kenneth Anger”, in Village Voice, May1973, pp. 89-100. 1970 Cott, Jonathan: “Anger Rising”, Sunday Ramparts, May 7. Mekas, Jonas et al.: “Three Notes on Invocation of My Demon Brother”, in Film Culture, New York, Winter-Spring 1970. Sitney, P. Adams: “The Avant-Garde: Kenneth Anger and George Landow”, Afterimage, New York, No. 2. 1969 Rayns, Tony: “Lucifer: A Kenneth Anger Kompendium”, in Cinema, No. 4, October 1969. 1967 Burton, Shelley: “Conversation With Kenneth Anger”, Los Angeles Free Press, March 10, 1967. Martin, Bruce & Medjuck, Joe: “Kenneth Anger”, in Take One, vol.
Recommended publications
  • Kenneth Anger: Where the Bodies Are Buried - Esquire 10-01-14 10:49
    Kenneth Anger: Where The Bodies Are Buried - Esquire 10-01-14 10:49 Kenneth Anger: Where The Bodies Are Buried - Esquire Photo by Brian Butler On a recent warm afternoon in Los Angeles, Kenneth Anger was taking a walk in the Hollywood Forever Cemetery. Anger, 86, is the US’s most celebrated underground film-maker, named as a major influence by directors as disparate as Martin Scorsese, David Lynch and John Waters. He is also the elemental spirit whose life draws a connecting line between some of the most intriguing figures of 20th century arts and Bohemia: the occultist Aleister Crowley, Jean Cocteau, the sexologist Alfred Kinsey, Anaïs Nin, The Rolling Stones and Led Zeppelin. Anger has always liked visiting cemeteries. “They’re peaceful,” he says. “They’d better be...” And Hollywood Forever, formerly the Hollywood Memorial Park Cemetery, has a personal significance. It is the resting place of a number of famous Hollywood stars and stands behind the original Paramount lot; in fact, the studios were built on a part of the old cemetery. Anger is an authority on old Hollywood. He is the author of two volumes of Hollywood Babylon, http://www.esquire.co.uk/culture/features/5483/kenneth-anger/ Page 1 of 19 Kenneth Anger: Where The Bodies Are Buried - Esquire 10-01-14 10:49 the classic account of Tinseltown’s most infamous scandals, from the silent era up to the Fifties. A number of the cast are buried here. Rudolph Valentino, whom Anger considers the quintessential Hollywood star (“he had a short, tragic life [dead at 31] and left a big legend”) is interred in a crypt in the Cathedral Mausoleum.
    [Show full text]
  • Hollywood Babylon: the Legendary Underground Classic of Hollywoods Darkest and Best Kept Secrets Pdf
    FREE HOLLYWOOD BABYLON: THE LEGENDARY UNDERGROUND CLASSIC OF HOLLYWOODS DARKEST AND BEST KEPT SECRETS PDF Kenneth Anger | 448 pages | 15 Sep 1983 | Bantam Doubleday Dell Publishing Group Inc | 9780440153252 | English | New York, United States 16 Dark Secrets Hollywood Doesn't Want You To Know | TheTalko The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. Packaging should be the same as what is found in a retail store, unless the item is handmade or was packaged by the manufacturer in non-retail packaging, such as an unprinted box or plastic bag. See details for additional description. First time I read this book I read it cover to cover in one sitting. It's that good and fascinating. Each chapter is another life of a famous movie star. Each story gets more and more shocking. Kenneth Anger has Hollywood Babylon: The Legendary Underground Classic of Hollywoods Darkest and Best Kept Secrets all the behind the scenes and makeup stories, and puts it out there for all to see The stars we were lead to believe were pure as the driven snow, heros and heroines to us all; had illegitimate children, drinking or drug problems, were gay when it would end their career if found out. And surprisingly, a few became huge stars. And how it ended his career even after he was found innocent What Joan Crawford did to get into movies and how it helped her career. Bonus chapter is about the Black Dahlia and the only pictures ever released of the body Gross but you can't help but look! You can not believe one person did that to another.
    [Show full text]
  • Experimental Film
    source guides experimental film National Library experimental film 16 + Source Guide contents THE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARKS FACILITY INFORMATION GUIDE STATEMENT . .i BFI NATIONAL LIBRARY . .ii ACCESSING RESEARCH MATERIALS . .iii APPROACHES TO RESEARCH, by Samantha Bakhurst . .iv INTRODUCTION . .1 GENERAL REFERENCES . .1 FOCUS ON: DEREK JARMAN . .4 CHRIS MARKER . .6 MARGARET TAIT . .10 CASE STUDIES: ANGER, BRAKHAGE, AND WARHOL . .12 KENNETH ANGER . .13 STAN BRAKHAGE . .17 ANDY WARHOL . .23 Compiled by: Christophe Dupin Stephen Gordon Ayesha Khan Peter Todd Design/Layout: Ian O’Sullivan Project Manager: David Sharp © 2004 BFI National Library, 21 Stephen Street, London W1T 1LN 16+ MEDIA STUDIES INFORMATION GUIDE STATEMENT “Candidates should note that examiners have copies of this guide and will not give credit for mere reproduction of the information it contains. Candidates are reminded that all research sources must be credited”. BFI National Library i BFI National Library All the materials referred to in this guide are available for consultation at the BFI National Library. If you wish to visit the reading room of the library and do not already hold membership, you will need to take out a one-day, five-day or annual pass. Full details of access to the library and charges can be found at: www.bfi.org.uk/filmtvinfo/library BFI National Library Reading Room Opening Hours: Monday 10.30am - 5.30pm Tuesday 10.30am - 8.00pm Wednesday 1.00pm - 8.00pm Thursday 10.30am - 8.00pm Friday 10.30am - 5.30pm If you are visiting the library from a distance or are planning to visit as a group, it is advisable to contact the Reading Room librarian in advance (tel.
    [Show full text]
  • 1 NS1 Document Wallet Catalogues of Golden
    1 NS1 Document wallet Catalogues of Golden Dawn manuscripts and others a). G. J. Yorke: `Golden Dawn manuscripts in the possession of G. J. Yorke'. (2 copies) b). G. J. Yorke: `Catalogue of G∴D∴ material in the collection of G. J. Yorke' c). `Golden Dawn material not at the Warburg Institute' (This is now part of the Warburg collection) d). Daniel Montagu: Catalogue of Golden Dawn documents. Based upon the work of Frater V. I. e). G. J. Yorke: Golden Dawn MSS. O Cypher MSS (3 copies). f). `The Golden Dawn Material'. An anonymous description of Golden Dawn material in the Bridewell Library, Southern Methodist University, Dallas, Texas g). `Crowley binders not at Warburg Institute' (This is now part of the Warburg Collection) h). `A note on the Yorke Collection of printed material' with a selective list of printed works by Crowley and followers [Mic. 175pp] NS2 Document wallet 1. Photostats of the Cypher manuscripts, ff. 1-57 2. Deciphers ff. 1-58 3. O1-04; Cypher message about Fraulein Sprengel, letter from Ellie Howe to G. J. Y, letter from Wynn Westcott to F. L. Gardner [Mic. 123pp] NS3 Springback folder of loose sheets of typescript O. T. O. Instructions and Sex Magick 1. `De Arte Magica' (1914), with annotations by Yorke [26pp] 2. `Liber De Natura Deorum', with annotations from original MS by Yorke [15pp] 3. `De Homunculo Epistola', with annotations from original MS by Yorke. [Yorke note: no record that A. C. ever tried to do this. Jack Parsons tried and failed in his Babylon Working] [7pp] 4.
    [Show full text]
  • WHITNEY BIENNIAL 2006: DAY for NIGHT to OPEN Signature Survey Measuring the Mood of Contemporary American Art, March 2-May 28, 2006
    Press Release Contact: Jan Rothschild, Stephen Soba, Meghan Bullock (212) 570-3633 or [email protected] www.whitney.org/press February 2006 WHITNEY BIENNIAL 2006: DAY FOR NIGHT TO OPEN Signature survey measuring the mood of contemporary American art, March 2-May 28, 2006 Peter Doig, Day for Night, 2005. Private Collection; courtesy Contemporary Fine Arts, Berlin. The curators have announced their selection of artists for the 2006 Whitney Biennial, which opens to the public on March 2, and remains on view at the Whitney Museum of American Art through May 28, 2006. The list of participating artists appears at the end of this release. Whitney Biennial 2006: Day for Night is curated by Chrissie Iles, the Whitney’s Anne & Joel Ehrenkranz Curator, and Philippe Vergne, the Deputy Director and Chief Curator of the Walker Art Center in Minneapolis. The Biennial’s lead sponsor is Altria. "Altria Group, Inc. is proud to continue its forty year relationship with the Whitney Museum of American Art by sponsoring the 2006 Biennial exhibition," remarked Jennifer P. Goodale, Vice President, Contributions, Altria Corporate Services, Inc. "This signature exhibition of some of the most bold and inspired work coming from artists' studios reflects our company's philosophy of supporting innovation, creativity and diversity in the arts." Whitney Biennial 2006: Day for Night takes its title from the 1973 François Truffaut film, whose original French name, La Nuit américaine, denotes the cinematic technique of shooting night scenes artificially during the day, using a special filter. This is the first Whitney Biennial to have a title attached to it.
    [Show full text]
  • Lucifer Over Luxor: Archaeology, Egyptology, and Occultism in Kenneth Anger’S Magick Lantern Cycle
    Doyle White, E 2016 Lucifer Over Luxor: Archaeology, Egyptology, and Occultism in Kenneth Anger’s Magick Lantern Cycle. Present Pasts, 7(1): 2, pp. 1–10, DOI: http://dx.doi.org/10.5334/pp.73 RESEARCH PAPER Lucifer Over Luxor: Archaeology, Egyptology, and Occultism in Kenneth Anger’s Magick Lantern Cycle Ethan Doyle White* One of the great figureheads of American experimental cinema, Kenneth Anger (b.1927), is internationally renowned for his pioneering work, recognisable for its blend of homoerotica, popular and classical music, and dark, symbolist imagery. A follower of Thelema, the religion of infamous British occultist Aleister Crowley (1875–1947), Anger’s work is imbued with occult themes and undercurrents rarely comprehen- sible to the non-initiated viewer. In exploring these esoteric ideas, Anger makes use of archaeology and heritage in his short filmsEaux d’Artifice (1953) and Inauguration of the Pleasure Dome (1954–66), as well as in the lost films The Love That Whirls (1949) and Thelema Abbey (1955), which utilize such disparate elements as Aztec human sacrifice and putative Renaissance Satanism. However, this theme only reaches its apex in Lucifer Rising (1980), an exploration of Thelemic theology filmed at such sites as Avebury, Luxor, and Karnak, which reflects and propagates the Thelemic view of the past—an ‘alternative archaeology’ rooted in Crowley’s own fascination with Egyptomania. This paper seeks to explore Anger’s use of the past and place it in its proper context of twentieth-century Western esotericism. Kenneth Anger (b.1927) is one of the foremost figures of through the transformation of individual consciousness American experimental cinema, an artist who produced via artistic mediums (Hughes 2011: 12).
    [Show full text]
  • Book Preview: End Section
    and elaborating on older uses of queer camp per- personal, and political and cultural arenas that formance, the film contains a much greater came to underscore the very phenomenon of gay degree of sentimentality about, and admiration liberation. Evoking a spirit of ‘stranger sociabil- for, the many things it stages and indeed dresses. ity’, to borrow a term from Michael Warner, the Much more extensively developed as a form of film advances the construction of new kinds of live theatre, camp performance in the late ’60s social formation, by elaborating on experiences BIBLIOGRAPHY and early ’70s was very much about bringing par- and feelings that many male-desiring men had in ticipants into the fold of new kinds of social, cul- common, though could not always easily share in tural and political spaces, where the values a collective context due to the prohibitions and assigned to things in everyday life could be inven- anxieties of a repressive society. !' tively challenged and given new life and meaning Just as the film potently and provocatively through their re-configuration. addresses the audience through its complex Camp in Pink Narcissus is also an integral combination of the sexually direct and the polit- part of what might be described as the film’s ically sharp, it also, more simply, offers audi- world-making ethos. The film repeatedly uses ences the sheer pleasure of viewing, for its own camp to garner a feeling for the pleasure of sake, a glistening, endlessly unfolding display of gay male experiences of socialising, if not col- light, colour, texture and movement.
    [Show full text]
  • La Vérité Web BR5
    FILM AT REDCAT PRESENTS Sat Oct 12 |6:00 pm| Jack H. Skirball Series $10.00 [members $8.00] Henri-Georges Clouzot and the Aesthetics of the Sixties Reflections on La Vérité France, 1960, 35mm, 127 min. Program curated by Martha Kirszenbaum and Bérénice Reynaud In conversation with the joint exhibitions La Fin de la Nuit at Palais de Tokyo in Paris and The End of the Night at LACE in Los Angeles, this panel discussion on the controversial French auteur Henri-Georges Clouzot and his contribution to the aesthetics of the 1960s centers around a screening of his intriguing film, La Vérité (1960 Oscar nominee and Golden Globe winner for Best Foreign Language Film). A showcase for the alluring physical presence of the biggest French star of the time, Brigitte Bardot—who transforms from pouting sex kitten to grand tragedienne—La Vérité is loosely inspired by a notorious “crime of passion” case. With his stern and masterful direction of Bardot, Clouzot creates another unforgettable, yet contradictory, sexual icon for the Swinging Sixties. In person: curators Martha Kirszenbaum and Bérénice Reynaud, film scholar Janet Bergstrom, artist/filmmaker William E. Jones and CalArts Critical Studies faculty Christine Wertheim. 35mm print courtesy of Sony Pictures “In the midst of the ‘New Wave’ explosion, one of the most admirable French directors secured the services of a sex symbol, Brigitte Bardot, to portray a puritanical and hypocritical society, devoid of compassion for the monsters it had begotten. The remarkable precision and ruthless irony of the film allows French cinema’s most famous doll to distinguish herself in a beautiful dramatic performance.” – Critikat “A close look at La Vérité can put into play a frisson every bit as biting as those other works touted for avant-garde stardom.
    [Show full text]
  • Sprueth Magers
    Icons Kenneth Anger Sprüth Magers London march 23 - april 20 2013 Sprüth Magers London is delighted to present an exhibition of work by the iconic filmmaker and artist Kenneth Anger, in his second solo show at the London gallery. Icons will bring together an archive of photographs, scrapbooks, letters and memorabilia from Anger’s personal collection, offering an insight into the unique vision of an artist widely acclaimed as a pioneering and influential force in avant-garde cinema, whose influence extends through generations of film makers, musicians and artists. Making films continuously since the late 1940s, Kenneth Anger is considered one of the most original filmmakers of American cinema and a countercultural icon. His groundbreaking body of work has had a profound effect on mainstream film directors such as George Lucas and Martin Scorsese, particularly in the application of a cross-cutting editing style and the integral use of pop music. Furthermore, post-war popular visual culture, from queer iconography to MTV, owes a debt to Anger‘s art. In particular, Anger has been cited as a major influence on the aesthetic of music video, with its emphasis on dream sequence and elevated affect, and his own soundtracks have featured collaborations with Mick Jagger and Jimmy Page, amongst others. The archive Icons will be exhibited across two rooms, painted midnight blue and crimson red, to replicate the way in which the collection was on display at Kenneth Anger’s home in Los Angeles. An occupation with Hollywood began as a child when Anger would visit film sets with his costume designer grandmother.
    [Show full text]
  • Jet Propulsion : a Play About John Whiteside Parsons
    JET PROPULSION A PLAY ABOUT JOHN WHITESIDE PARSONS A THESIS IN Theatre Presented to the Faculty of the University Of Missouri-Kansas City in partial fulfillment of The requirements for the degree MASTER OF ARTS By PETER JON BAKELY B.A., Park College, 1992 Kansas City, Missouri 2013 AN ABSTRACT IN JET PROPULSION A PLAY ABOUT JOHN WHITESIDE PARSONS Peter Jon Bakely, Candidate for the Master of Arts degree University of Missouri - Kansas City, 2013 ABSTRACT Jet Propulsion, a two-act drama on the life of John Whiteside Parsons, is the candidate’s thesis, along with the essay “American Weird: Researching John Whiteside Parsons, the Occult Religion of Aleister Crowley and the Formation of the American Space Program.” The essay shows the author’s work process in the writing of the play, as well as the difficulties inherent in finding truthful information regarding Fringe religions and cult personalities and in using that information to create a compelling drama and to produce that drama as part of the Kansas City Fringe Festival. Biographical materials regarding the primary historical persons depicted in the play are included. Appendices of a previous draft of the script and biographical portraits have been included to illustrate the author’s process in creating the drama. iii APPROVAL PAGE The faculty listed below, appointed by the Dean of the College of Arts and Sciences have examined a thesis titled “Jet Propulsion A Play about John Whiteside Parsons,” presented by Peter Jon Bakely, candidate for the Master of Arts degree, and certify that in their opinion it is worthy of acceptance.
    [Show full text]
  • Kenneth Anger : Morgan Fisher PR Pages
    FOR IMMEDIATE RELEASE: Kenneth Anger / Morgan Fisher May 17 through June 23, 2019 | Reception & Performance: June 6, 7 to 9pm / 687 Minna Street, San Francisco CA 94103 | Open Wed through Sun, 11am - 6pm www.slashart.org [email protected] Laurence Rickels in The Case of California tells us that music is the ghost noise of identification, a haunting melody that replaces projection with mental images and associations recomposed as impressions. “Only the listener capable of self-concentration tunes in on the composers original wavelength.” Projection, and the projector, have their own associations with haunting, as the technology developed alongside the re-emergence of the esoteric and the magickal at the turn of the 20th Century. These two movements often find themselves entwined, and this is certainly the case here: music and magick both find their proper place in the projections of Kenneth Anger and Morgan Fisher. Kenneth Anger’s legendary film Invocation of My Demon Brother was largely assembled with out-takes from his first version of Lucifer Rising combined with new footage shot in 1969 at San Francisco’s Straight Theater and the William Westerfeld House, which got its “Russian Embassy” nickname in the 1920’s when it was occupied by a group of Czarist Russians who ran a night club out of it. The house later became a center of acid test hippie culture, mystic experimentation, and rock and roll, the magick of which becomes projected through the film’s imagery. Invocation of My Demon Brother stars, among others, Lenore Kandel, Harvey Bialy, Anton LeVay, and Bobby Beausoleil.
    [Show full text]
  • Independent Filmmaker, Kenneth Anger, Lecture
    Independent Filmmaker, Kenneth Anger, Lecture Date of Recording: April 16, 1973 Location: Carnegie Museum of Art Running Time: 96:56 minutes Format: ¼-inch audiotape Date of Transcript: November 2015 Department of Film and Video archive Lectures and interviews with artists ID: fv001/002/026 Carnegie Museum of Art fv001/002/026 Page 1 of 23 Sally Dixon: It’s a great, great pleasure to introduce Kenneth Anger Anger. We’ve waited a long time, tried to have him come last year, but he does live in London, which makes it a little more difficult than New York would be. He’s here now, doing a sort of a mini-tour, I guess; three places. We’re fortunate enough to be one of them. By way of just brief background, I want to give you a few points that I picked up today at the press conference, that I didn’t know before. That is, he sort of was spawned in Hollywood, as it were, with the big studios, and had quite a bit of experience there, soaking up that flavor, which you might keep in mind when looking at his films. After I knew it, I tried to think back over them, and I’ll look at them again tonight with that in my mind. Apparently, a remarkable grandmother who loved it and took him there … And from there, went on out and began making films at a very early age, and eventually wound up in England, where he is now in London. He’s been there for the last seven or eight years, and is now back here for a tour, for the first time in a number of years.
    [Show full text]