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#underground cinema
undergroundrockpress · 4 months
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John Waters on the set of Multiple Maniacs (1970) Photo : Lawrence Irvine.
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explicette · 19 days
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hornyfirefly · 6 months
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mildewpuke · 4 months
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The Poughkeepsie Tapes (2007)
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bitter69uk · 10 months
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“Well, it would be a crowded world if we didn’t have death to re-arrange the scenery.”
/ Kenneth Anger interviewed by Purple Magazine in 2018 /
Funny how shocking it feels to type the words “His Satanic Majesty Kenneth Anger (3 February 1927 – 24 May 2023) has died”.  (Sprueth Magers Gallery announced his death earlier today via Twitter). The pioneering experimental underground filmmaker, author and occultist was, after all, 96 years old! I always assumed whatever pact Anger made with the devil invested him with immortality (or that he’d at least reach 100). Repeatedly seeing Anger’s homoerotic masterpieces like Scorpio Rising (1964) and Kustom Kar Kommandos (1965) at an impressionable age (often at the much-missed Scala Cinema in London) made a profound impact on me, and his two salacious wildly irresponsible volumes of Hollywood Babylon are like sacred religious texts! What a total original Kenneth Anger was. His art will live forever. Pictured: portrait of Anger in his youth in the 1950s by Edmund Teske.
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hysteric-sweetheart · 5 months
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edie sedgwick and her leopard print slay
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valseorcstra · 6 months
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Der Tod ist ein Dandy auf einem Pferd
Directed by Peter Sempel (1988)
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You Are Not I (Sara Driver, 1981)
Cinematography by Jim Jarmusch
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steponremix91 · 3 months
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My Degeneration (1989) dir. Jon Moritsugu
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madredellelacrime · 10 months
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BUT DON’T YOU PANIC, I’LL GIVE YOU A SATANIC MECHANIC : Shiny vehicles and pretty boys in Kenneth Anger’s cinema
Scorpio Rising (1963)
Kustom Kar Kommandos (1965)
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A month ago, cinema’s greatest magician left the physical realm and as an hommage to Kenneth Anger, I felt obligated to dig into his filmography again. Far from the occult work I’m usually drawn too, it felt like the right time to rediscover his classic film : Scorpio Rising.
My first encounter with this proto-documentary on a group of bikers happened back in 2019, during an experimental cinema course I took at university. While a classroom doesn’t seem like the proper place to fully enjoy, the power conveyed by the beautiful images still managed to take me away. Almost 5 years later, I found myself drawn to this film, moved by an urge to rediscover this experimental piece.
But what is Scorpio Rising about? Like most experimental films, it’s obviously guided by this fantastic quest to look for beauty in the ordinary, to transform simple things into shimmery jewels. Motorcycles shine and become accessories to the bikers. Far from the traditional straight hyper-masculine figures that usually inhabit the world of bikers, Anger follows the group through the prism of homoeroticism - a bedroom full of James Dean’s pictures, leather jackets customised with studs resembling glitters in the distance, men in drag to replace their actual girlfriends. Moving along with the group and the speed of their bikes, Scorpio Rising takes a step back from the polished images and explores an uglier side of those man-machines where torture and church trashing meet the use of Nazi imagery - act of subversion or real political affinity from its actors/characters ? To this day, the film still is an important part of queer cinema and a gay man’s point of view on a 1960’s New York.
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To continue this “automobile double feature”, I picked a short film I hadn’t seen yet : Kustom Kar Kommandos. Abolish the KKK’s white supremacy, hail to the car’s supremacy! This 3-minute long film feels like one of David Cronenberg or Julia Ducournau’s fever dreams with its lush cinematography, full of pinks and reds. Here, the car is the true main character being carefully polished by a guy never seen as a whole. A vehicle almost presented as a woman with the pastel pink background and vulva-like car seats which contrast with the man’s blue outfit. To further this man-machine relationship, the car sports a magnificent shiny body in which the human figure can reflect. The intensive polishing of the metal shapes the machine into a mirror only to cast back the man’s own masculinity. More than in love with his car, he’s in love with the reflection of himself and everything related to a man’s image.
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Mechanic has always been related to masculinity and Kenneth Anger uses the representation of vehicles in his film to define his own of idea of the man : reckless, narcissistic and deeply gay. A man in love with the image of himself reflecting in the body of his car and in love with other men which he keeps picture of in his bedroom.
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undergroundrockpress · 5 months
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1967
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explicette · 17 days
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hollywoodbabylone · 11 months
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Tokyo Grindhouse: Pinky Violence bad girl cinema
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mildewpuke · 2 months
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Nothing Bad can Happen (2013)
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bitter69uk · 2 months
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“I've always considered movies evil; the day that cinema was invented was a black day for mankind.” Kenneth Anger.
Born on this day: His Satanic Majesty, pioneering experimental underground filmmaker, author and occultist Kenneth Anger (Kenneth Wilbur Anglemyer, 3 February 1927 – 11 May 2023). Repeatedly viewing Anger’s visionary homoerotic masterpieces Fireworks (1947), Scorpio Rising (1964) and Kustom Kar Kommandos (1965) at an impressionable age had a profound impact on me, and his two salacious wildly irresponsible volumes of Hollywood Babylon are like sacred religious texts.
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fitsofgloom · 1 year
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Scion of Babylon
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