Weekend links 529

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Naruto Whirlpool, Awa Province, from the series Views of Famous Places in the Sixty-Odd Provinces (c. 1853) by Utagawa Hiroshige.

• Eric Margolis: “Yukio Mishima may have gone out in an inglorious blaze in 1970, but three of his previously untranslated works have been released in the English-speaking world in the last two years, with another on the way.” The forthcoming novel is Mishima’s only venture into science fiction (!), A Beautiful Star. The book was filmed by Daihachi Yoshida in 2017.

• “[Ace in the Hole] did well in Europe but not here, perhaps because Americans expected a cocktail and felt I was giving them a shot of vinegar instead.” Billy Wilder discussing his career with Charles Higham in 1967.

• Mixes of the week: All these things invisible by The Ephemeral Man, and Secret Thirteen Mix 306 by Yogev Freilichman.

“So I got a phone number for Vangelis, he was living in Paris and I went there and called him up. He said (affects a gruff Greek accent) ‘Hello’, I said, ‘My name’s Jon Anderson’. He said ‘What?’ I said, ‘I’m in a band called Yes’, he said, ‘Are you a singer? Well, come over’, so I went over. There was this big guy with a long kaftan on and a bow and arrow around his shoulder. I got into his palatial apartment near the Champs-Élysées and there’s quite a long hallway down to his living room, and there’s a little old man there sitting by the TV. Vangelis takes out his bow and sends this arrow down the hallway and it goes right through the window, because the window was open. I said, ‘Vangelis, you could have killed somebody’, he said, ‘Oh, don’t worry, I’m Greek’. I said, ‘I know you’re Greek, but come on’.”

Jon Anderson talking to Duncan Seaman about his first encounters with Vangelis

Tarot cards though the ages; examples from a new book on the subject published by Taschen.

The Suspended Vocation again: Ryan Ruby on Pierre Klossowski, “Brilliant Brother of Balthus”.

• Secret Sound podcast #17 is devoted to The Galaxy of Turiya aka Alice Coltrane.

• At Dennis Cooper’s: Shaye Saint John Day.

Kenneth Anger smiles!

Make Me Smile (Come Up And See Me) (1975) by Steve Harley and Cockney Rebel | Uncertain Smile (1983) by The The | Fleeting Smile (1988) by Roger Eno

Don’t Smoke That Cigarette by Kenneth Anger

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Another of Kenneth Anger’s post-Magick Lantern works at YouTube, and one I’d managed to miss until now. Anger’s later films have tended to be documentative—The Man We Want to Hang, Mouse Heaven, Anger Sees Red, My Surfing Lucifer—or collage projects like Ich Will!, a cut-up of Nazi propaganda films that was also on YouTube for a while before vanishing into the puce ether.

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Don’t Smoke That Cigarette (2000) is a long collage piece with none of the director’s usual preoccupations, the raw material this time being propaganda for the US tobacco industry. Anger is apparently a fervent non-smoker so this can be considered a polemical work although it also offers a glimpse for younger generations into a vanished world where almost everybody smoked some kind of tobacco, the advertising was ubiquitous, and dissenting voices very much in the minority. With a running time of 45 minutes this is also Anger’s longest film. The copy at YouTube has the look of a VHS tape that’s been duplicated several times, a degraded appearance familiar from the bootleg tapes that used to circulate in the days of “video nasty” censorship. It also turns into a video nasty of its own when Anger reinforces his message with footage of people afflicted by a variety of nicotine-induced diseases. With Johnny Roventini (the Philip Morris bellboy) as your host for the evening, more tobacco-addicted stars than there are in heaven, and “Electro”, a cigarette-smoking robot.

Previously on { feuilleton }
Kenneth Anger’s Maldoror
Donald Cammell and Kenneth Anger, 1972
My Surfing Lucifer by Kenneth Anger
Inauguration of the Pleasure Dome: The Eldorado Edition
Brush of Baphomet by Kenneth Anger
Anger Sees Red
Kenneth Anger’s Hollywood Babylon
Lucifer Rising posters
Missoni by Kenneth Anger
Anger in London
Arabesque for Kenneth Anger by Marie Menken
Edmund Teske
Kenneth Anger on DVD again
Mouse Heaven by Kenneth Anger
The Man We Want to Hang by Kenneth Anger
Relighting the Magick Lantern
Kenneth Anger on DVD…finally

Kenneth Anger’s Maldoror

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Kenneth Anger, Topanga Canyon, Composite with Gustave Doré Engraving (1954) by Edmund Teske.

Les Chants de Maldoror, 1951–1952.
16mm; black and white; filmed in Paris and Deauville.

With a hand-held 16mm camera I shot my first series of short haiku. This was my apprenticeship in the marvels that surround us, waiting to be discovered, awake to knowledge and life and whose magical essence is revealed by selection. At 17, | composed my first long poem, a 15 minute suite of images, my black tanka: Fireworks.

I had seen this drama entirely on the screen of my dreams. This vision was uniquely amenable to the instrument that awaited it. With three lights, a black cloth as décor, the greatest economy of means and enormous inner concentration, Fireworks was made in three days.

An example of the direct transfer of a spontaneous inspiration, this film reveals the possibilities of automatic writing on the screen, of a new language that reveals thought; it allows the triumph of the dream.

The wholly intellectual belief of the “icy masters” of cinema in the supremacy of technique recalls, on the literary level, the analytical essays of a Poe or the methods of a Valéry, who said: “I only write to order. Poetry is an assignment.”

At the opposite pole to these creative systems there is the divine inspiration of a Rimbaud or a Lautréamont, prophets of thought. The cinema has explored the northern regions of impersonal stylization; it should now discover the southern regions of personal lyricism; it should have its prophets.

These prophets will restore faith in a “pure cinema” of sensual revelation. They will re-establish the primacy of the image. They will teach us the principles of their faith: that we participate before evaluating. We will give back to the dream its first state of veneration. We will recall primitive mysteries. The future of film is in the hands of the poet and his camera. Hidden away are the followers of a faith in “pure cinema.” even in this unlikely age. They make their modest “fireworks” in secret, showing them from time to time, they pass unnoticed in the glare of the “silver rain” of the commercial cinema. Maybe one of these sparks will liberate the cinema….

Angels exist. Nature provides “the inexhaustible flow of visions of beauty.” It is for the poet, with his personal vision, to “capture” them.

Kenneth Anger—Modesty and the Art of Film, Cahiers du Cinéma no. 5, September 1951

* * *

Little is known about Anger’s activities during the mid-1950s. By 1958 he still had not been able to complete any films in Paris. He held on to his hope of completing Maldoror. His stack of preproduction notes and sketches had grown larger and he had plans to photograph nudes in a graveyard. Several Parisian Surrealists threatened to hand Anger’s head to him if he shot Maldoror. The book’s fluid, dreamlike imagery had been one of the trailblazers of Surrealism, and his detractors felt that a gauche American with a reputation for pop iconography and bold homosexual statement would debase a sacred text.

Bill Landis—Anger: The Unauthorized Biography of Kenneth Anger, 1995

* * *

I discovered the book when I was quite young. I loved it, put a lot of passion into it. I found people to play the parts. I found settings, gaslit corners, places still had the romantic look of a Second Empire. It was a terrific ambition to make this epic film-poem. I found ways to translate the text’s extraordinary images. I planned to film a mid-nineteenth century story taking place in twentieth century Paris. I filmed “the hymn to the ocean” on the beach at Deauville, with Hightower and members of the Marquis de Cuevas Ballet. They danced in the sea; tables were placed beneath the water line so the dancers could stand on their points. It looked as though they were standing on waves. The people who called themselves “Surrealists” were furious—this group of punks threatened me—they didn’t want a Yank messing round with their sacred text. I just told them to go to hell! I also managed to film the war of the flies and pins. I put bags of pins and dozens of flies into a glass container; revolved the container and filmed in close-up. As the pins dropped the flies zigzagged to escape. In slow motion an impressive image.

Kenneth Anger—Into the Pleasure Dome: The Films of Kenneth Anger, edited by Jayne Pilling & Michael O’Pray, 1989

* * *

The sections of the film that were completed [are] stored in the Cinémathèque Française, but [their] exact whereabouts in the archive is unknown, with no images from the film being currently available for reproduction.

Alice L. Hutchinson—Kenneth Anger, 2004

Previously on { feuilleton }
Donald Cammell and Kenneth Anger, 1972
My Surfing Lucifer by Kenneth Anger
Inauguration of the Pleasure Dome: The Eldorado Edition
Brush of Baphomet by Kenneth Anger
Anger Sees Red
Kenneth Anger’s Hollywood Babylon
Lucifer Rising posters
Missoni by Kenneth Anger
Anger in London
Arabesque for Kenneth Anger by Marie Menken
Edmund Teske
Kenneth Anger on DVD again
Mouse Heaven by Kenneth Anger
The Man We Want to Hang by Kenneth Anger
Relighting the Magick Lantern
Kenneth Anger on DVD…finally

Weekend links 503

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Rabbit Man with Skull Lady (1998) by Allan Kausch.

• “They were the first generation that said, ‘Fuck it, we’re not going to be intimidated.’ They weren’t going to make specifically pro-gay statements, but they were the first generation to really live that out. If you look at the Alternative Miss World, it’s a kind of gender-fuck, it’s almost like the English version of the Cockettes.” Jon Savage speaking in a piece by Alex Petridis about “Them” (Kevin Whitney, Luciana Martinez de la Rosa, Duggie Fields, Derek Jarman, Zandra Rhodes, Andrew Logan et al). Related: Andrew Logan in Andrew’s Adventures in Loganland.

• Sex, Satanism, Manson, Murder, and LSD: Kenneth Anger tells his tale. “Anger rarely if ever veers from the script as he is a man who has carefully controlled his myth and reputation for decades,” says Paul Gallagher.

• “Don’t even think about operating heavy machinery while listening to this mix.” The latest Dave Maier collection of recent ambient drift, drone-works and beatless atmospherics.

It is by no means easy to track or trace relationships between women, past or present. Women’s relationships with other women are often disguised: by well-documented marriages to men, by a cultural refusal to see what is in full view or even to believe such relationships exist. In a world built by and for men and their pursuits, a woman who loves women does not register—and is not registered, i.e., written down. Reasons for this layer one upon the other: A lesbian purposely hides her identity and remains closeted. A lesbian refuses to call herself a lesbian, disidentifying from the term and its associations for reasons personal or political. A woman does not know she is a lesbian—because she does not ever have a relationship with another woman, or because she is not aware that the relationships she engages in could be called lesbian. I didn’t call myself one for several years. Or, as in Carson’s case, her own self-understanding and identification are difficult to determine because of the efforts of those who outlived her and pushed her into the closet.

Jenn Shapland on the closeting of Carson McCullers

• At The Paris Review: The Collages of Max Ernst. Related: Kolaj: A directory of collage books.

Adam Scovell on the deathly hinterlands of Georges Franju’s Eyes without a Face.

• When Dorothy Parker got fired from Vanity Fair, by Jonathan Goldman.

• At Dennis Cooper’s: The Proto-Psychedelic Art of CG Jung’s Red Book.

• The abstract, single-stroke paintings of Daigoro Yonekura.

Adam Gopnik on the seriousness of George Steiner.

Caligula MMXX

The Ballad Of Dorothy Parker (1987) by Prince | Lotus Collage (1979) by Laraaji | Death Collage (1992) by Snakefinger & The Residents

Weekend links 487

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Art by Joe Mugnaini (1955).

• Mixes of the week: The Ivy-Strangled Path Vol. XIX by David Colohan, and The Ephemeral Man’s Teapot 2—Atmosphere insomniac by The Ephemeral Man.

• Patrick Clarke talks to Morton Subotnick and Lillevan about Subotnick’s pioneering synthesizer composition, Silver Apples Of The Moon (1967).

• A second volume of London’s Lost Rivers, a walker’s guide by Tom Bolton with photography by SF Said, is published by Strange Attractor next month.

“That country where it is always turning late in the year. That country where the hills are fog and the rivers are mist; where noons go quickly, dusks and twilights linger, and midnights stay. That country composed in the main of cellars, sub-cellars, coal-bins, closets, attics, and pantries faced away from the sun. That country whose people are autumn people, thinking only autumn thoughts. Whose people passing at night on the empty walks sound like rain.”

Ray Bradbury quoted by Sam Weller in an examination of Bradbury’s dark tales and autumnal horror stories

Lumberjacks In Heat is 11 minutes of music from Mechanical Fantasy Box by Patrick Cowley, the latest Cowley collection from Dark Entries.

They Poured Out Their Light Until Only Darkness Remained: new eldritch vibrations from The Wyrding Module.

• Carmen Villain on the magic of Jon Hassell’s Aka / Darbari / Java: Magic Realism.

• An Evil Medium: Elizabeth Horkley on the films of Kenneth Anger.

• Cosmic gardens and boulder boulevards by Charles Jencks.

• At Dennis Cooper’s: Murray Melvin Day.

Richard Dawson‘s favourite music.

• RIP John Giorno.

My Girlfriend Is A Witch (1968) by October Country | The October Man (1982) by Bill Nelson | Late October (1984) by Harold Budd