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Kenneth Anger
Born Kenneth Wilbur Anglemyer
February 3, 1927 (1927-02-03) (age 83)
Santa Monica, California
Occupation underground film director, actor
Years active 1941 - present

Kenneth Anger (born Kenneth Wilbur Anglemeyer February 3, 1927) is an American underground avant-garde film-maker and author. His short films, which he has been producing since 1937, have variously merged surrealism with homoerotica and the occult. Whilst he has produced almost forty short films in his lifetime, only six of these have received distribution, and have come to be referred to as the "Magick Lantern Cycle".[1] He has been described as "one of America's first openly gay filmmakers, and certainly the first whose work addressed homosexuality in an undisguised, self-implicating manner",[2] and some of his homoerotic works, such as Fireworks (1947) and Scorpio Rising (1964), were produced prior to the legalisation of homosexuality in the United States.

He has focused upon occult themes in many his films, being fascinated by the notorious English occultist Aleister Crowley and following Crowley's religion of Thelema. This influence is evident from films like Inauguration of the Pleasure Dome (1954) and Lucifer Rising (1972). During the 1960s and 70s he associated and worked with a number of different figures in popular culture and the occult, including Anton Szandor LaVey, Mick Jagger and Jimmy Page. Anger has described film makers such as Auguste and Louis Lumière and Georges Méliès as influences[3] and has been cited as an important influence on later film directors Martin Scorsese and David Lynch.[4] He is also the author of the controversial best seller Hollywood Babylon and its sequal Hollwood Babylon II, in which he exposed many of the rumours and secrets of Hollywood celebrities.



Early Life (1927-1935)

"I was a child prodigy who never got smarter."

Kenneth Anger[5]

Kenneth Anger was born in Santa Monica, California, as Kenneth Wilbur Anglemyer on 2 February 1927. His father, Wilbur Anglemyer, had been born in Troy, Ohio, but claimed German ancestry, whilst his mother, Lillian Coler, who was the older of the two, was a cripple who claimed English ancestry. The pair had met at Ohio State College and after marrying had their first child, Jean Anglemyer, in 1918, followed by a second, Robert "Bob" Anglemyer, in 1921. That year they moved to Santa Monica in order to be near Lillian's mother, Bertha Coler, who herself had recently moved there. It was here that Wilbur got a job working as an electrical engineer at Douglas Aircraft, bringing in enough money so that they could live comfortably as a middle class family.[6]

A screenshot from A Midsummer Night's Dream (1935); the figure on the right, the Changeling Prince, has been claimed by Anger to be himself.

Kenneth, their third and final child, was born in 1927, but growing up he would fail to get along with either his parents or his siblings. His brother Bob later claimed that being the youngest child, Kenneth had been spoilt by his mother and grandmother, and as such had become somewhat "bratty". His grandmother, Bertha, was a big influence on the young Kenneth, and indeed helped to maintain the family financially during the Great Depression of the 1920s. It was she who first took Kenneth to the cinema, to see a double bill of The Singing Fool and Thunder Over Mexico and also encouraged his artistic interests. She herself later moved into a house in Hollywood with another woman, Miss Diggy, who equally encouraged Kenneth.[7] He developed an early interest in film, and enjoyed reading the movie tie-in Big Little books. He would later relate that he attended the Santa Monica Cotillon where child stars were encouraged to mix with ordinary children and through this met Shirley Temple, whom he danced with on one occasion.[8]

It was in 1935, he would later claim, that he actually had the chance to appear in a Hollywood film - as the Changeling Prince in the 1935 Warner Bros. film A Midsummer Night's Dream by Max Reinhardt and William Dieterle, a film that certainly influenced him, particularly in his later production of Rabbit's Moon. Set photographs and studio production reports (on file in the Warner Bros. Collection, USC, and the Warner Bros. collection of studio key books at George Eastman House, Rochester NY) in fact contradict Anger's claims, stating that that the character was played by a girl named Sheila Brown. Reports have subsequently emerged that have been attributed to the actor Mickey Rooney, who played the character of Puck in the film, claiming that Sheila Brown was in fact Anger dressed up as a girl by his mother.[9] Rooney supposedly had befriended Anglemyer on set, and Anger himself would later fondly remark of him in his book Hollywood Babylon II, describing him as "Puck Forever".[10] Anger's unofficial biographer, Bill Landis, remarked in 1995 that the Changeling Prince was definitely "Anger as a child; visually, he's immediately recognisable".[11]

First Films (1937-1946)

"I've always considered movies evil; the day that cinema was invented was a black day for mankind."

Kenneth Anger[12]

Anger's first film was created in 1937, when he was only ten years old. The short, entitled Ferdinand the Bull, had been shot on the ends of 16mm film that had been left unused after the Anglemyer's vacation to Yosemite National Park, where they had been making home movies with it. In the film, which has never been made publically available, Kenneth himself wore a cape (presumably as a matador), whilst two of his friends from the Boy Scouts played the bull.[13] His second work, Who Has Been Rocking My Dreamboat, which Anger himself often considers his first actual film, comprised of footage of children playing during the summer, upon which he placed songs by bands like the Ink Spots. Who Has Been Rocking My Dreamboat had been created in 1941, when he was fourteen, shortly before the bombing of Pearl Harbour and the subsequent entering of the United States into the Second World War, adding to the poignancy of this early work.[14] The following year he produced another amateur film, Prisoner of Mars, which was heavily influenced by Flash Gordon, a series that he was a fan of. Alongside this, he added elements taken from the myth of the Minotaur from Greek mythology. In Prisoners of Mars, he played the protagonist, and constructed a small volcano in his back yard.[15] It is believed that many of these early films are lost, with Anger burning much of his previous work in 1967.[16]

In 1944, the Angemyers moved to Hollywood to live with their grandmother, and Kenneth began attending Beverly Hills High School. It was here that he met Maxine Peterson, who had once been the stand-in for Shirley Temple, and he asked her, alongside another classmate and an old woman, to appear in his next film project, which he initially called Demigods but which was later retitiled to Escape Episode. Revolving partially around the occult, it was filmed in a "spooky old castle" in Hollywood and was subsequently screened at the Coronet Theater on North La Cinega, Los Angeles. He began attending the screenings of silent films held at Clara Grossman's art gallery, through which he met a fellow film-maker, Curtis Harrington, and together they formed Creative Film Associates that helped to distribute underground films such as those of Maya Deren.[17]

It was whilst at high school that he began to get interested in the occult, which he had first encountered through reading Frank L. Baum's Oz books with their accompanying Rosicrucian philosophies as a child. Kenneth was very interested in the works of the French ceremonial magician Eliphas Levi, as well as Sir James Frazer's The Golden Bough,[18] although his favourite was the writings of the British occultist Aleister Crowley, who had founded a religion known as Thelema based upon a religious experience that he had in 1904, in which a being known as Aiwass contacted him and recited to him The Book of the Law. Kenneth subsequently became a great fan of Crowley's work and converted to Thelema.[19]

Fireworks and Early Career (1947-1949)

As Anger discovered his homosexuality, at a time when homosexual acts were still illegal in the United States, he began associating with the underground gay scene. At some point in the mid 1940s, he was arrested by the police in a "homosexual entrapment", after which he decided to move out of his parents home, gaining his own sparse apartment largely financed by his grandmother,[20] and abandoning the name Anglemyer in favour of Anger.[21] He started attending the University of Southern California, where he studied cinema, and also began experimenting with the use of mind-altering drugs like cannabis and peyote.[22]

Anger (here left), played the part of the protagonist in Fireworks.

It was then that he decided to produce a film that would deal with his sexuality, just as other gay avant-garde film makers like Willard Maas were doing in that decade. The result was the short film Fireworks, which was created in 1947 but only exhibited publically in 1948. Upon release of the work, Anger made the claim to have been seventeen years old when he made it, despite the fact that he was actually twenty, presumably to present himself as more of an enfent terrible.[23] A homoerotic work lasting only 14 minutes, Fireworks revolves around a young man (played by Anger himself) associating with various navy officers, who eventually turn on him, stripping him naked and beating him to death, ripping open his chest to find a clock ticking inside. Several fireworks then explode, accompanied by a burning Christmas tree and the final shot shows the young man lying in bed next to another topless man. Of this film, Anger would later state in 1966 that "This flick is all I have to say about being 17, the United States Navy, American Christmas and the fourth of July."[24] He would continuously alter and adapt the film up until 1980, with it finally being distributed on VHS in 1986.[25]

One of the first people to buy a copy of Fireworks was the sexologist Dr. Alfred Kinsey of the Institute for Sex Research. He and Anger struck up a friendship that would last until the doctor's death, during which time Anger aided Kinsey in his research. According to Anger's unofficial biographer Bill Landis, Kinsey became a "father figure" whom Anger "could both interact with and emulate."[26] Meanwhile, in 1949 Anger began work on a film known as Puce Moment, which unlike Fireworks was filmed in colour. It starred Yvonne Marquis as a glamorous woman going about her daily life; Anger would later state that "Puce Women was my love affair with Hollywood... with all the great goddesses of the silent screen. They were to be filmed in their homes; I was, in effect, filming ghosts."[27] A lack of funding meant that only one scene was ever produced. That same year, Anger directed The Love That Whirls, a film based upon Aztec human sacrifice, but because of the nudity that it contained was destroyed by technicians at the film lab who deemed it to be obscene.[28]

France, Rabbit's Moon and Eaux d'Artifice (1950-1953)

In 1950 Anger moved to Paris, France, where he initially stayed with friends of his (who themselves had been forced to leave Hollywood after being blacklisted for formerly having belonged to trade union organisations).[29] He would later remark that he travelled to the country after receiving a letter from the French director Jean Cocteau in which he told Anger of his admiration for Fireworks. Upon arrival, Anger and Cocteau became friends, with the Frenchman giving the young protege his permission to make a movie of his ballet The Young Man and Death, although at the time there were no financial backers for the project.[30] It was whilst in Paris that he continued producing short films; in 1950 he started filming on Rabbit's Moon, which was also known as La Lune des Lapins and revolved around a clown who was staring up at the moon, in which a rabbit lived, something found within Japanese mythology. Anger produced 20 minutes of footage at the Films du Pantheon Studio in the city before he was rushed out of the studio, leaving the film uncompleted. He stored the footage in the disorganised archives of the Cinémathèque Française, and only collected it again in 1970, when he finally finished and released Rabbit's Moon.[31][32] It was at the Cinémathèque Française that he befriended the head, Henri Langlois (later claiming that he worked for Langlois for twelve years[33]) and was allowed to rummage through the Cinémathèque's archives, in which he found prints of Sergei Eisenstein's Que Viva Mexico!, which he attempted to put into Eisenstein's original order.[34]

"[D'Este was] a sexual pervert. There are very few things I call sexual perversion, but he liked to fuck goats, and that is technically a perversion."

Kenneth Anger[35]

In 1953, he travelled to Rome, Italy where he planned to make a film about the sixteenth century occultist Cardinal d'Este. To do so, he began filming at the garden of the Villa d'Este in Tivoli, in which a lady in eighteenth century dress walked through the gardens, which featured many waterfalls (an allusion to the fact that d'Este allegedly sexually enjoyed urination),[36] accompanied by the music of Vivaldi.[37] This was supposedly going to be only the first of four scenes, but the others were not made; the resulting one-scene film was entitled Eaux d'Artifice. As Anger's biographer Bill Landis remarked, "It's one of Anger's most tranquil works; his editing makes it soft, lush, and inviting. Eaux d'Artifice remains a secretive romp through a private garden, all for the masked figure's and the viewer-voyeur's pleasure."[38]

Inauguration of the Pleasure Dome and Hollywood Babylon (1953-1960)

Albert Kinsey (left) and Anger at the Abbey of Thelema in 1955, with an image of Crowley on the wall.

In 1953, soon after the production of Eaux d'Artifice, Anger's mother died and he temporarily returned to the United States in order to take part in the distribution of her will. In was during this return that he began to once more immerse himself in the artistic scene of California, befriending the film maker Stan Brakhage, who had been inspired by Fireworks, and the two collaborated on producing a film, but it was confiscated at the film lab for obscenity and presumably destroyed.[39] Around this time, two of Anger's friends, the couple Renate Druks and Paul Mathiesin held a party based upon the theme of 'Come As Your Madness'; Anger himself attended dressed in drag as the ancient Greek goddess Hekate. The party and its many costumes inspired Anger, who produced a painting of it, and asked several of those who attended to appear in a new film that he was creating - Inauguration of the Pleasure Dome.[40] Inauguration, which was created in 1954, was a 38 minute surrealist work featuring many Crowleyan and Thelemite themes, with many of the various different characters personifying various pagan gods such as Isis, Osiris and Pan. One of the actresses in the film was Marjorie Cameron, the widow of Jack Parsons, the influential American Thelemite who had died a few years previously, whilst Anger himself played Hecate.[41] He would subsequently exhibit the film at various European film festivals, winning the Prix du Ciné-Club Belge and the Prix de l'Age d'Or as well as screening it in the form of a projected triptych at Expo 58, the World Fair held in Brussels in 1958.[42]

In 1955, Anger and his friend Alfred Kinsey travelled to the derelict Abbey of Thelema in Cefalù, Sicily in order to film a short documentary entitled Thelema Abbey. The abbey itself had been used by Aleister Crowley for his commune during the 1920s, and Anger restored many of the erotic wallpaintings that were found there as well as performing certain Crowleyan rituals at the site. The documentary was made for the British television series Omnibus, who later lost it.[43][44] The following year Kinsey died, and Anger decided to return to Paris, and was described at this time as being "extremely remote and lonely".[45]

In desperate need of money, Anger wrote a book titled Hollywood Babylon in which he revealed much of the elicit gossip regarding celebrities that he had been told. This included claiming that Rudolph Valentino liked to play a sexually submissive role to dominant women, as well as describing the nature of the deaths of Peg Entwistle and Lupe Velez. The work was initially not published in the United States, instead the publisher was the French Jean Jacques Pauvert.[46] A pirated (and incomplete) version was first published in the U.S. in 1965, with the official American version not being published until 1974. Now with some financial backing from the publication of Hollywood Babylon, his next film project was The Story of O; essentially a piece of erotica featuring a heterosexual couple engaged in sado-masochistic sexual activities, although it refraimed from showing any explicit sexual images.[47]

Scorpio Rising and Kustom Kar Kommandos (1961-1965)

A screenshot of Anger's Scorpio Rising.

In 1961, Anger once more returned to America, where he lived for a time with Marjorie Cameron.[48] Meanwhile he began work on a new feature, a film about the emerging biker subculture, which he titled Scorpio Rising. For this, he employed a biker named Richard McAuley, and filmed him and some of his friends messing around, adding to it scenes of McAuley, or "Scorpio" as he became known, desecrating a derelict church. Anger incorporated more controversial visuals into the piece, including Nazi iconography, nudity, and clips of the life of Jesus Christ taken from Family Films' The Road to Jerusalem. In Scorpio Rising, Anger intercuts images of Christ from the cheap religious film with those of Scorpio, both of whom are rebels in their own way. The whole film has a soundtrack made up of popular 1950s songs, including "Blue Velvet" by Bobby Vinton, "Torture" by Kris Jensen and "I Will Follow Him" by Little Peggy March.[49] Anger himself described the film as "a death mirror held up to American culture... Thanatos in chrome, black leather, and bursting jeans."[50] It immediately became popular on the underground cinema scene although was soon brought to court with complaints claiming that it was obscene. The all-female jury ruled in favour of the prosecutors, and Scorpio Rising was banned, although this ban was subsequently overturned on appeal to the California State Supreme Court.[51]

With Scorpio Rising finished and Anger now living in San Francisco, he went to the Ford Foundation, who had just started a program of giving out grants to filmmakers. He showed them his ideas for a new artistic short, entitled Kustom Kar Kommandos, which they approved of, and gave him a grant of $10,000.[52] However, Anger spent much of the money on living expenses and making alterations to some of his earlier films, meaning that by the time he actually created Kustom Kar Kommandos, it was only one scene long. This homoerotic film involved various shots of a young man polishing a drag strip racing car, accompanied with a pink background and the song "Dream Lover" by The Paris Sisters. Soon after, Anger struck a deal that allowed Hollywood Babylon to be officially published in the United States for the first time, where it proved a success, selling two million copies during the 1960s, and around the same time Anger also translated Lo Duca's History of Eroticism into English for American publication.[53]

Invocation to My Demon Brother and Lucifer Rising (1966-1981)

The mid 1960s saw the arrival of the hippie scene and the increasing use of the mind-altering drugs that Anger himself had been using for many years. In particular, the hallucinogen LSD, which at the time was still legal in the United States, was very popular, and in 1966 Anger released a version of his earlier film, Inauguration of the Pleasure Dome entitled the "Sacred Mushroom Edition" which was screened to people whilst taking LSD, thereby heightening their sensory experience.[54] By this time, Anger had become well known throughout the underground scene in the United States, and several cinemas across the country screened his better known films all in one event.[55] With this growing fame, Anger began to react to publicity in much the same way as his idol Aleister Crowley had done, for instance describing himself as "the most monstrous moviemaker in the underground", a pun on the fact that Crowley had been labelled "the wickedest man in the world" by the British tabloids in the 1920s.[56]

During the late 1960s he associated with The Rolling Stones, as well as Bobby Beausoleil (before he gained notoriety as an associate of the Charles Manson family). Beausoleil, a musician who had played with Arthur Lee, was cast as Lucifer in Anger's proposed film, Lucifer Rising. Beausoleil and Anger had a falling out and Beausoleil left, taking most of the completed film with him [57] (Beausoleil is also rumored to have buried the film's negative in the desert at one of Manson's former hangouts.) British singer Marianne Faithfull later appeared in Anger's re-shot version of the film. Some footage from the earlier version of Lucifer Rising (including Beausoleil) ended up in Anger's Invocation of My Demon Brother.

Kenneth Anger had a widely publicized spat with Led Zeppelin guitarist Jimmy Page over the Lucifer Rising soundtrack.[58][59] Anger claimed Page took three years to deliver the music, and the final product was only 25 minutes of droning and was useless. Anger also accused Page of "having an affair with the White Lady" and being too strung out on drugs to complete the project. Page countered claiming he had fulfilled all his obligations, even going so far as to lend Anger his own film editing equipment to help him finish the project.[60] Page's music was dumped eventually and replaced in 1979 by music written and recorded by Bobby Beausoleil — the only movie soundtrack in history recorded inside a prison.[61]

Retirement (1982-1999)

In 1995, Bill Landis, who had been an associate of Anger's in the early 1980s, wrote an unofficial biography of him, which Anger himself condemned, describing Landis as "an avowed enemy".[62]

Return to Filmmaking (2000-)

For 20 years from the early eighties, Anger released no new material. In the new millennium he has since returned to filmmaking. He also performs as Technicolor Skull with Brian Butler. In a scene in John Waters's 2000 movie Cecil B. Demented, the characters are introducing themselves and each one shows the name of an independent director tattooed on his/her arm. One of the characters has Kenneth Anger. Anger makes an appearance in the 2008 feature documentary by Nik Sheehan about Brion Gysin and the Dreamachine entitled FLicKeR.[63] In 2009 his work was featured in a retrospective exhibition at the P.S. 1 Contemporary Art Center in New York City,[64] and the following year a similar exhibition took place in London.[65]

Anger has finished writing Hollywood Babalon III, but has not yet published it, fearing severe legal repurcusions if he did so. Of this he has stated that "The main reason I didn't bring it out was that I had a whole section on Tom Cruise and the Scientologists. I'm not a friend of the Scientologists."[66] The Church of Scientology has been known on several occasions to heavily sue those making negative accusations against them.


Anger is renowned for repeatedly making uses of the themes of homoeroticism and the occult. Such homoeriticism can be seen in Fireworks, which involves various topless men and is often interpreted as exploring the homosexual awakening of the protagonist. It can also be seen in later works such as Scorpio Rising with its leather-clad bikers and Kustom Kar Kommandos with its image of a mechanic in tight-fitting jeans. Various of his films also have occult and esoteric themes. Anger himself noted that "making a movie is casting a spell."[67]

One of the central recurring images found in Anger's work is the concept of flames and light; in Fireworks there are various examples of this, including a burning Christmas tree, and it subsequently appears in many of his other works as well. This relates to the concept of Lucifer, a deity whom Anger devoted one of his films to, and whose name is Latin for "light bearer".[68]

In many of his films, heavy use is made of music, both classical and pop, to accompany the visual imagery. For instance, in Scorpio Rising he makes use of the 1950s pop song "Blue Velvet" by Bobby Vinton, something that he believed was later copied by David Lynch in his 1986 movie Blue Velvet. He first used music to accompany visuals in the 1941 work Who Has Been Rocking My Dreamboat?, where he used tracks by the Mills Brothers.[69] His use of popular music to accompany his films has been cited as a key influence on the development of music videos and of MTV, although he has stated his dislike for the whole music video industry. One one occasion the band Combustible Edison asked him if he would direct a video to accompany their song "Bluebeard" but he declined the offer, believing that whilst music could be used to accompany film, it was pointless to do it the other way around.[70]

Personal life

Anger has always been an "extremely private individual",[71] although has given various interviews over the years, with one interviewer, David Wingrove, describing him as "a joy. Gentle, soft-spoken, immaculately tanned, he looks a good two decades younger than his 78 years".[72] In such interviews, he refuses to disclose information on his name change from Anglemeyer to Anger, telling an interviewer who brought the topic up in 2004 that "You're being impertinent. It says Anger on my passport, that's all you need to know. I would stay away from that subject if I was you."[73] In a 2010 interview however he stated that "I just condensed my name. I knew it would be like a label, a logo. It's easy to remember."[74] Anger is openly homosexual, and has displayed this in some of his works, with one of his friends describing how he "was attracted to people who were either well endowed or the Arnold Schwarzenegger type."[75] He once joked that he was "somewhat to the right of the KKK" in his views about black people,[76] opening him up to criticism, although he is also a passionate supporter of the Free Tibet movement.[77]

Whilst being a Thelemite who has been initiated into Ordo Templi Orientis, Anger has shown an interest in various other religious movements, particularly those that are in some way occult. For instance, he was a lifelong friend of Anton Szandor LaVey, both before and after the founding of the Church of Satan in the 1960s, and lived with LaVey and his family during the 1980s. LaVey also made an appearance in one of Anger's films, Invocation to My Demon Brother (1969) whilst Anger wrote forewords to two of LaVey's books, The Devil's Notebook (1992) and Satan Speaks! (1998). He also describes himself as a "pagan" and refuses to consider himself to be a Satanist.[78]


Year Title Length Other Information
1937 Ferdinand the Bull Now lost.
1941 Who Has Been Rocking My Dreamboat 7 mins. Now lost.
1941-42 Tinsel Tree 3 mins.
1942 Prisoner of Mars 11 mins.
1943 The Nest 20 mins.
1944 Demigods (Escape Episode) 35 mins.
1945 Drastic Demise 5 mins. Lost film.
1946 Escape Episode 27 mins. Lost film.
1947 Fireworks 15 mins. Filmed in black and white, it is a homoerotic work seen through the eyes of the protagonist, played by Anger himself.
1949 Puce Moment 6 mins.
1949 The Love That Whirls
1950 Rabbit's Moon 16 mins (1972) and 7 mins (1979) Filmed with a blue filter, it is set in a small wooded glade where a clown stares up at the moon, in which a rabbit lives.
1951-52 Maldoror Lost film.
1953 Eaux d'Artifice 12 mins.
1953 Le Jeune Homme et la Mort - Unfinished.
1954 Inauguration of the Pleasure Dome 38 mins.
1954-1961 L’Histoire d’O Unfinished and a lost film. Filmed in black and white.
1955 Thelema Abbey 10 mins. Filmed in black and white. Lost film.
1963 Scorpio Rising 29 mins.
1965 Kustom Kar Kommandos 3 mins.
1969 Invocation of My Demon Brother 12 mins.
1970-1980 Lucifer Rising 29 mins.
1976 Senators in Bondage Lost film.
1977 Matelots en Menottes Lost film.
1979 Denunciation of Stan Brakhage 7 mins. Lost film.
2000 Don't Smoke That Cigarette!
2002 The Man We Want to Hang 12 mins.
2004 Anger Sees Red 4 mins. Comprises footage of a muscled man, who identifies himself only as "Red", walking through a park and sunbathing, at which he is seen by Anger himself, who is also in the park, before subsequently returning home.[79]
2004 Patriotic Penis
2005 Mouse Heaven 11 mins. A montage of Mickey Mouse memorabilia from the 1920s and 30s, accompanied by contemporary jazz music.
2007 Elliott's Suicide 15 mins.
2007 I'll Be Watching You 5 mins.
2007 My Surfing Lucifer 4 mins.
2008 Death 42 secs.
2008 Foreplay 7 mins.
2008 Ich Will! 35 mins.
2008 Uniform Attraction 21 mins.

Partial Bibliography

Year Title Other
1959 Hollywood Babylon
1961 A History of Eroticism An introduction to Lo Duca's book.
1970 Atlantis: The Lost Continent An introduction to Aleister Crowley's book.
1986 Hollywood Babylon II
1992 The Devil's Notebook A foreword to Anton Szandor LaVey's book.
1998 Satan Speaks! A foreword to Anton Szandor LaVey's book.
2001 Suicide in the Entertainment Industry With David K. Frasier.


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  9. ^ Lachman, Gary. 'Kenneth Anger: The Crowned and Conquered Child' in Anger: Magick Lantern Cycle DVD. British Film Institute. Page 11.
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  24. ^ 'Film Credits - Magick Lantern Cycle' in Anger: Magick Lantern Cycle DVD. British Film Institute. Page 25.
  25. ^ Landis, (1995:40)
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  32. ^ Landis, (1995:59-60)
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  34. ^ Landis, (1995:61)
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  57. ^ Illuminati News "I Sold My Soul to Rock & Roll & Mind Control: Anger Rising"
  58. ^ Chris Salewicz, Anger Rising: Jimmy Page and Kenneth's Lucifer; NME, 1977.
  59. ^ Anger Rising
  60. ^ The Story Behind The Lost Lucifer Rising Soundtrack, Guitar World magazine, October 2006
  61. ^ BeauSoleil, Bobby. "Fallen Angel Blues - the story of LUCIFER RISING". Retrieved 2009-08-09. 
  62. ^ Landis (1995:xiii)
  63. ^ "FLicKeR: A Flim by Nik Sheehan". Retrieved 2008-04-21. 
  64. ^ Kenneth Anger at P.S.1, New York
  65. ^
  66. ^
  67. ^ Hunter, Jack (Ed). Moonchild. Creation Books. Page 47.
  68. ^ Lachman, Gary. 'Kenneth Anger: The Crowned and Conquered Child' in Anger: Magick Lantern Cycle DVD. British Film Institute. Page 13.
  69. ^ Anger, Kenneth (2000). Spotting UFOs with a Manson Killer: An Interview with Kenneth Anger at
  70. ^ Anger, Kenneth (2000). Spotting UFOs with a Manson Killer: An Interview with Kenneth Anger at
  71. ^ Landis, (1995:xiii)
  72. ^ Wingrove, David. Anger…and Other Deadly Sins
  73. ^ Lachman, Gary. 'Kenneth Anger: The Crowned and Conquered Child' in Anger: Magick Lantern Cycle DVD. British Film Institute. Page 10.
  74. ^
  75. ^ Landis, (1995:49)
  76. ^ Landis, (1995:50)
  77. ^ Anger, Kenneth. 2009. Do What Thou Wilt: Kenneth Anger and Aleister Crowley and the Occult. [1]
  78. ^
  79. ^ Anger, Kenneth. 2004. Anger Sees Red.

Further reading

  • Hutchinson, Alice L. (ed). 2004. Kenneth Anger. Black Dog Publishing Ltd.
  • Hunter, Jack (ed). 2002. Moonchild. The Films Of Kenneth Anger: Persistence of Vision Volume 1. London: Creation Books.
  • Pilling, Jayne and O'Pray, Michael. 1989. Into The Pleasure Dome: The Films Of Kenneth Anger. London: BFI.
  • Landis, Bill. 1995. Anger: The Unauthorised Biography of Kenneth Anger.

External links

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