My recursive "chocolate girl" is tawny, again and again.& I tell yuh, another GREAT combinate here. Want from her(e) is to get to you something.but to where & all thy luves ferever (or was it "lewes/laws" ? Let us now return to recursion again and again to those yes-ter-years.and That Wyatt piece directly transcribed from the original text/ms? The book was banned in the United States until the mid-1960s, and while largely derided as mostly fiction, Hollywood Babylon included tales of Charles Chaplin, Lupe Vélez, Rudolph Valentino, Errol Flynn, Frances Farmer, Ramon Novarro, Lana Turner, Judy Garland, Fatty Arbuckle, Marilyn Monroe and, in later editions, Sharon Tate that would stubbornly endure for years.Illustration of "the nurse" on Droste cocoa tin, showing a visual form of recursion known as the Droste effect the woman in the image is holding an object which contains a smaller image of herself holding the same object, and so forth: Jan (Johannes) Musset (?), c.
The filmmaker also had a significant influence on Los Angeles lore with his 1959 book Hollywood Babylon, a compendium of Hollywood gossip and scandals from the industry’s earliest days to the 1950s. The Rolling Stones’ “Sympathy for the Devil” was inspired, at least in part, by Anger’s films. Footage from that film was incorporated into Anger’s 1969 short film Invocation of My Demon Brother, which included music by Mick Jagger, who, along with Church of Satan founder Anton LaVey and others, appeared in the film.
His uncompleted 1969 film My Demon Brother starred a young Bobby Beausoleil, who would achieve later and greater fame as a member of the Charles Manson Family. Set to a soundtrack of popular songs of the day - “Blue Velvet,” “Hit the Road Jack,” “Heat Wave,” among many others - Scorpio Rising has been cited as an influence by such directors as Gaspar Noé and Nicolas Winding Refn, and, as with Fireworks, ’80s-era rockers like Adam Ant, who included a song called “Scorpio Rising” on a 1985 album.Īnger courted ongoing controversy with his incorporation of both satanic imagery in his works.
Subsequent films included Scorpio Rising (1963), an occult-infused work that did for biker culture what Fireworks did for sailors. That film, which used fireworks explosions as visual metaphors for male orgasm, was followed by the 38-minute Inauguration of the Pleasure Dome (1954), which featured surreal Technicolor imagery to convey, as Sprueth Magers describes, “a sexually charged, orgiastic mixture of myth and ecstasy somewhere between period film set, opera stage, Kabuki theater and nightclub.”Īnger’s impact on MTV-era music videos and their quick-cut, surreal montage techniques, was made explicit in the Frankie Goes To Hollywood video “Relax,” taken from the band’s album with the Anger-inspired title Welcome to the Pleasuredome. With his early films utilizing then-novel montage techniques, Anger broke into the avant-garde scene in 1947 with the 14-minute Fireworks, a work that brought obscenity charges due to its depictions of gay imagery including cruising, sexual violence and the “sailor fetish” visuals that would find their way into everything from the Tom of Finland illustrations to the Village People. RELATED: 50 Avant Garde And Experimental Films Gallery: From ‘Meshes Of The Afternoon’, ‘The Holy Mountain’, ‘Scorpio Rising’ To ‘The Lighthouse’ & MoreĪ pioneer in the field of avant-garde film and video art, Anger’s short films were characterized by what his gallery describes as “a mystical-symbolic visual language and phantasmagorical-sensual opulence that underscores the medium’s transgressive potential.” The films are often credited with have a deep impact on the aesthetics of 1960s and 1970s subcultures, particularly queer iconography. “The artist saw film as nothing less than a spiritual medium, a conveyer of spectacular alchemy that transforms the viewer.” “Anger considered cinematographic projection a psychosocial ritual capable of unleashing physical and emotional energies,” said his gallery owners Monika Sprüth and Philomene Magers in a statement.
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