Lucifer Rising posters

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Lucifer Rising: A Love Vision by Kenneth Anger (1967) by Rick Griffin.

The status of Kenneth Anger’s Lucifer Rising as a kind of poly-cultural crossroads even extends to its poster art. The original poster by Rick Griffin dates back to the earliest drafts of the film, and with its swipe from Gustave Doré makes me think it’s the kind of thing Wilfried Sätty might have produced for Anger had he been asked. (They were both living in San Francisco at this time.)

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The San Francisco poster artists happily plundered the past for unusual images; Doré was a popular choice since his images are frequently striking and copies of the books (or reprints) would have been easy to find. This is one of the illustrations from the Purgatorio section of his illustrated Divine Comedy (1867) showing Dante being ferried up Mount Purgatory (“like Ganymede”) by a giant eagle.

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From Dante and Virgil to Virgil Finlay, one of whose illustrations was used on this promo sheet advertising a limited run of Bobby Beausoleil’s soundtrack for the film.

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Earth’s Last Citadel (1950) by Virgil Finlay.

The illustration this time is for a reprint of Earth’s Last Citadel by CL Moore and Henry Kuttner in Fantastic Novels Magazine for July 1950. I’ve never seen any mention of William Burroughs meeting Kenneth Anger which is a shame since they had acquaintances in common and Burroughs occasionally showed an interest in some of Aleister Crowley’s ideas. The Henry Kuttner connection in this case would provide a link to some of the borrowings Burroughs himself made from Kuttner’s writing. But no, it’s too much of a reach.

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Lucifer Rising (1980) by Page Wood.

After all that the final poster is an original piece of work by Page Wood for a premier screening at the Whitney Museum, New York in 1980. The art avoids the overt occultism in favour of making a resolutely low-budget piece seem like a Hollywood epic. Given Anger’s lifelong obsession with Hollywood’s myths and tragedies I think he would have appreciated that.

Previously on { feuilleton }
Externsteine panoramas
San Francisco by Anthony Stern
The art of Alia Penner
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 111

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The Fox (1968). Design by Bill Gold, art by Leo & Diane Dillon.

Mark Rydell’s The Fox may be regarded unfavourably now for its retrograde idea of a lesbian relationship but that’s still a great poster by the Dillons. Equally retrograde (well it was 1957) is Anders als du und ich, a film about wayward German youth directed by ex-Nazi propagandist Veit Harlan:

Klaus is a young man in post-war Berlin. He is drawn to his friend Manfred and, under the encouragement of their acquaintance, Dr. Winkler, explores the underground world of gay clubs and electronic music. His family begins to learn of his other life and do everything they can to set him straight.

A saving grace is the conspicuous deployment of Oskar Sala’s Trautonium. They’re deviants—of course they like weird electronic music! Sala’s instrument was his own invention which means it has a unique pre-Moog sound, famously used by Alfred Hitchcock in the score for The Birds. YouTube has a collection of the electronica moments from Anders als du und ich. Wait for the wrestling scene…

Netherwood: Last Resort of Aleister Crowley by A Gentleman of Hastings. Related: Jimmy Page’s Lucifer Rising sessions part 1 and part 2.

• “This coming 16 June, [BBC] Radio 4 will be a wall-to-wall Joycefest, kicking off at 9am and running until midnight.”

A World Where Architecture is the Driving Force Behind Society, Core77 on the Cités Obscures of François Schuiten.

• At The Hooded Utilitarian an examination of the thorny problem of adapting Lovecraft for the comics medium.

• Plates from La Plante et ses Applications Ornementales (1897–1900) by Eugene Grasset.

• Coilhouse found a rough copy of Todd Haynes’ Superstar: The Karen Carpenter Story.

Three Quick Ways to Introduce Yourself to the Work of Harlan Ellison.

Daniel Buren’s Monumenta 2012 at the Grand Palais, Paris.

Our Sorrows, a new video from Julia Holter.

I, Cyclops: Monocularity in a 3-D World.

JG Ballard: The Concordance.

• RIP Pete Cosey.

• Pete Cosey with Miles Davis et al, November 1973: Ife | Turnaroundphrase

Rex Ingram’s The Magician

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The Magician (1926), Rex Ingram’s curious occult horror film, receives a rare screening with live music accompaniment at the Brighton Fringe Festival on Tuesday, 22nd May. The film is notable for being based on the 1908 Somerset Maugham novel of the same name whose modern-day magus character, Oliver Haddo, was modelled on Aleister Crowley. The screening will feature an introduction by Gary Lachman, and a live soundtrack by the fabulous Ragged Ragtime Band, featuring members of Blondie, Indigo Octagon, Raagnagrok and Time. Booking details and other information here.

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Maugham’s book has always been easier to find than Ingram’s film, more’s the pity when the film—despite some flaws—is the superior article. Read today, the novel comes across as a template for the standard Dennis Wheatley tale of middle-class innocents imperilled by grandiloquent villainy. A young couple, Arthur Burdon and his fiancée, Margaret, are pitted against Haddo’s extravagant diabolisms; for assistance they have a friend, Dr Porhoët, a Van Helsing type, older than the couple and with a convenient (but purely intellectual) interest in the occult. Haddo kidnaps Margaret and forces her with hypnosis into an unconsummated marriage. Haddo’s goal is to create artificial life—homunculi—and for that he requires a virgin’s blood. Maugham later described his novel as “lush and turgid”, an honest and accurate appraisal. Aleister Crowley was amused at being portrayed as a “Brother of the Shadows” but pretended to be scandalised by Maugham’s alleged plagiarism which he condemned in a Vanity Fair review that he signed “Oliver Haddo”. The best parts of the novel certainly owe something to other authors, usually the scenes concerning the sinister magus and his occult activities; the rest of the characters are lifeless by comparison. Some of the better passages read like HP Lovecraft writing Dorian Gray, and Maugham not only quotes from Walter Pater but also (uncredited) from Wilde’s Salomé.

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Paul Wegener as Oliver Haddo.

Continue reading “Rex Ingram’s The Magician”

Weekend links 84

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Regeneration (2011) by Toshiyuki Enoki. Via.

HIDE/SEEK: Difference and Desire in American Portraiture, the art exhibition that caused such a fuss last year at the Smithsonian Institution, opens at the Brooklyn Museum, NYC, on November 18th. Among the events associated with the show is a screening of James Bidgood’s lusciously erotic Pink Narcissus. David Wojnarowicz’s video piece, A Fire in My Belly, is still a part of the exhibition so the New York Daily News reached for the outrage stick to prod some reaction from people who’d never heard of the artist or his work before. Will history repeat itself? Does the Pope shit in the woods? Watch this space…

Magic is not simply a matter of the occult arts, but a whole way of thinking, of dreaming the impossible. As such it has tremendous force in opening the mind to new realms of achievement: imagination precedes the fact. It used to be associated with wisdom, understanding the powers of nature, and with technical ingenuity that could let men do things they had never dreamed of before. The supreme fiction of this magical thinking is The Arabian Nights, with its flying carpets, hidden treasure and sudden revelations…

Marina Warner, whose new book, Stranger Magic: Charmed States and the Arabian Nights, is reviewed here and here.

• Those Americans who adore big business but loathe the idea of gay marriage will be dizzy with cognitive dissonance at the news that 70 major US companies—including CBS, Google, Microsoft and Starbucks—have signed a statement saying the Defense of Marriage Act (DOMA) is bad for business. Mark Morford at SFGate says this now means that real homophobes don’t Google.

Divining with shadows and dreams, tears and blood: S. Elizabeth talks to JL Schnabel of BloodMilk about her “supernatural jewels for surrealist darlings“.

Earth: Inferno (2003), a short film by Mor Navón & Julián Moguillansky based on the book by Austin Osman Spare. Via form is void.

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Illustration by Virgil Finlay for A. Merritt’s The Face in the Abyss. From a 1942 Finlay portfolio at Golden Age Comic Book Stories.

The Mute Synth as created by Dirty Electronics & designed by Adrian Shaughnessy.

Phil Baker reviews two new Aleister Crowley biographies at the TLS.

A Brief Rant on the Future of Interaction Design

The Most Amazing Room In Queens, NYC.

Brian Eno on composers as gardeners.

Alan Turing is Alan Garner’s hero.

• Paintings by Guy Denning.

Static (1998) by Redshift | The Owl Service (2000) by Pram | Lover’s Ghost (2010) by The Owl Service.

Weekend links 80

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Niels Klim’s descent to the planet Nazar from the 1845 edition of Nicolai Klimii Iter Subterraneum (Niels Klim’s Underground Travels) (1741) by Ludvig Holberg.

BibliOdyssey posts illustrations from different editions of Ludvig Holberg’s satirical fantasy, appends the usual informative links and draws our attention Stories of a Hollow Earth at The Public Domain Review. I’d not come across the latter site before but it’s now bookmarked.

• While the economy of Europe continues to circle the toilet bowl it’s good to know that our Prime Minister is focusing on the important issues such as…limiting access to internet pornography. “Look at the implementation, and no matter where you stand on porn, I think you’ll see this plan is going to cause a lot of problems on its way to the eventual fail bin,” says Violet Blue. I was wondering how the four targeted ISPs would feel about a filtering plan that would drive many new customers elsewhere. The Register reports their response which comes down to offering guidelines rather than attempting the difficult and contentious task of filtering millions of websites.

• Related: Won’t you fuck off, Reg Bailey, in which the report by the small Christian pressure group that started all the fuss is eviscerated. | Elsewhere: Porn is good for society says Anna Arrowsmith, while Tristan Taormino asserts that “writing and publishing erotica, especially for minorities, is a political act.” Then there’s Pornsaints, “an artistic approach to porn, a pornographic approach to art, a pornartistic approach to religion.”

• In the music world: Richard H Kirk and Peter Care discuss Cabaret Voltaire and Johnny YesNo, Roy Harper talks to Alexis Petridis, and soundtrack composer Cliff Martinez is interviewed (and pictured playing a Cristal).

Witch’s Cradle at Strange Flowers (Maya Deren, Marcel Duchamp and Peggy Guggenheim), The Ghosts of Senate House, London, and Aleister Crowley’s Abbey of Thelema as it is today.

• RIP Frank Kameny, co-founder of the Mattachine Society, and a tireless gay rights advocate from the early 1960s on.

Bruce Weber photographs some of the dancers from Matthew Bourne’s Dance Company.

Terry Gilliam says “I used to think I could will things into existence. Not any more.”

• Charts at Business Insider: What the Wall Street protesters are so angry about.

Five From…: assorted wit and wisdom in the Tumblr labyrinth.

• Glass art by Jasmine Targett.

Ballard Geocoded.

Porno Base (1982) by 23 Skidoo | Kylie Minogue (2003) by Satanicpornocultshop | Tantric Porno (live) (2009) by Bardo Pond.