KENNETH ANGER was a child star in Hollywood in the s and later the Babylon, which was first published in French in and has since become a. View and download Kenneth Anger - Hollywood Babylon I - bestthing.info on DocDroid. Kenneth Anger - Hollywood Babylon I - pdf - Ebook download as PDF File . pdf) or read book online.
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Anger, Kenneth - Hollywood Babylon I - Ebook download as PDF File .pdf) or read book online. Hollywood Babylon I by Kenneth Anger. Download now: bestthing.info Author by Kenneth Anger Read ebook Read Hollywood Babylon Kenneth Anger PDF File Download file. Hollywood Babylon by Kenneth Anger; 15 editions; First published in ; Subjects: Accessible book, Biography, History, Motion picture.
I don't know what I was expecting. On the outset it seems very interesting and attention grabbing, maybe you'll find a story about your favorite actor you never knew, but once you about halfway in and realize you've only been reading hearsay about actor's manhoods and possible homosexual trysts literally nothing else other than those topics , you start to feel sad and dirty.
Yes, it's tabloid trash, but it's supposed to be tabloid trash. The biggest issue with this book is that there is no substance, nothing to verify any of the outlandish claims and all of it is put together in a sloppy mess like the ramblings of a perverted gay psychopath rather than an actual readable format. Read the original Hollywood Babylon and ignore this bullshit trying to cash in on it's name.
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I still don't know what Winston Churchill or Pope John VI had to do with Hollywood, but the gossip laid out here is probably second hand, with a ton of meaningless commentary boxes littering the text. Kenneth Anger's books at least had some elegantly snide putdowns - this is all venal old queen tales. Don't bother with this, unless you want to know about Elvis's bi side or Lucille Ball's shady past. Oct 02, Kuljinder Singh rated it did not like it worst book of the year I have read Nov 13, Tristan Goding rated it did not like it Pretty scummy stuff, I gotta say.
It's a messy collection of over-saturated tabloid junk. This book revels in repulsive stories about Hollywood. Even for those of you who enjoy this kind of scandalous stuff, this stuff doesn't even go into detail about the worst of it.
Six years after its initial publication in France, the book was released in the US in Within days it was banned and pulled from bookstores until a new edition was printed in During my visit to LA to interview Kenneth, his name kept popping up seemingly at random. He also continues to send them all sorts of mail on an almost daily basis—letters, notes, books, and other packages—apparently because he likes the post office and enjoys mailing things to people. Another strange occurrence happened during a free afternoon when I made the poor decision of taking the Dearly Departed Tour, a bus excursion to locations around LA where infamous celebrity scandals and deaths took place.
Kenneth was very polite if somewhat reserved, and throughout our chat, the only awkward moments were when he would pause after answering a question. By the end, it was clear that he is truly a walking treasure trove of history; he has lurked at the core of Hollywood longer—and knows her better—than anyone else. Kenneth Anger: I have a certain amount of ambivalence about it, but basically I am fond of it.
And so whatever vices it has I appreciate; it is colorful. And it used to be a lot more colorful than it is now. This is sort of a mellow period, but there were days in the 20s and the 30s when it was having a different scandal every week, practically. Does this have anything to do with the way the press covers celebrities? Are too many people famous nowadays?
Kenneth Anger - Hollywood Babylon I - 1975.1.1.compressed.pdf
No, it was the personalities, sort of larger-than-life personalities. And they were genius. Like Charlie Chaplin, for instance. At the same time, they had a propensity for pushing the boundaries and getting in trouble. In his case, he liked young girls, and that still is sort of a no-no.
Have there been any recent scandals that particularly interested you? I have a pretty good antenna about what is happening in Hollywood, and it has just quieted down. In the 60s there was a flare-up with the Manson crowd and all that, but that has all quieted away. And you would know because you lived through most of it.
You were making films before you were even a teenager, right? I was a kid, yes. When was the last time you watched anything you filmed from that era? I do have most of them, and I was working on 16 mm.
Now I prefer to work in digital. Why short films? Have you ever been tempted to make a feature? Well, I could manage a shorter film with my own personal budget, and I compare my films to poems—I consider myself a poet of films. And something like 15 minutes or half an hour, I can manage that myself quite well as far as the budget goes.
I have made films of up to 40 minutes, but oddly I never felt attracted to going into feature-length films. Unfortunately, it makes piracy very possible—that is easy—and I consider us to be living in the age of piracy. And I object to it a lot. I try to hold on to my things as carefully as I can, but it is not always possible to protect everything. The commercial-film people are much more concerned about being ripped off big time, and so they really have something to fight for. It seems that today the major stumbling blocks for filmmakers have to do with distribution rather than content.
Back when you made Fireworks, your first publicly released film, you ended up facing some legal troubles. Minor legal troubles; it was considered a little over the edge for the time, It was a pioneer film, and it was made in one weekend, so times have changed, but it was kind of exciting not knowing what would happen.
For instance, when it was made I had a problem with finding a lab to print it. One of the technicians was an ex-navy man, and because I have real sailors in my family, he was a bit concerned over [the sailors] in the film.
But in the end, nothing came of it. Still, you were facing allegations of obscenity, and at the time that was a very serious charge. It never came down to it. There was the possibility, but it never amounted to that. But it did attract the attention of sexologist Alfred Kinsey, whom you befriended. Did he encourage your work? The title is kind of awkward, but that was what he called his research book. He was basically a biologist, an expert on wasps, of all things.
When he came to LA to do interviews, I met him. He came to see Fireworks at the Coronet Theatre at a midnight showing, and he wanted to download a print for his collection at Indiana University. I agreed, and that was the first copy I ever sold.
But I remained good friends with him until the end of his life. Did he serve as a sort of foil during this period, a time when it was difficult to openly discuss sexuality as it applied to society, or were your interactions more casual?
When Kinsey came to visit Europe and Italy for the first time, I had done intense research on the villa of Aleister Crowley because he had this 18th-century farmhouse, which he called the Abbey of Thelema. He was inspired by Gauguin and painted all of the walls with murals, but they were explicitly erotic in a humorous way and so he was kicked out of Italy. I spent a summer scraping off the whitewash and photographing [the murals].
That was an interesting archaeology. Many of your films feature homoerotic imagery, yet they were made at a time when homosexuality was technically illegal. Did that even enter the equation? I just always did what I wanted to do.
It never bothered me, and I never had any specific problem. There is nothing explicit in my films. Even though you could say that Fireworks is kind of explicit, it is so symbolic that it got by. Do you believe that censorship can sometimes be an inspiration for creativity?
That perhaps some things are more poignant when left unsaid? We are in a time now where practically anything goes. There was a time when anything that had to do with sexuality, you had to tiptoe around it. It makes mystique impossible. The fact that one can practically do anything one wants today means there is no kind of censorship that can cease you from making films and maybe result in being thrown in jail or something. In the early days, back in the 40s, it was actually possible that something like that could happen.
Anger, Kenneth - Hollywood Babylon I
Yet many of the stars you write about in Hollywood Babylon were involved in off-screen, real-life activities that were far more scandalous. I never stopped making films, but yeah, I was working on the book, traveling and living in Europe.
That seems like a natural progression, but I have a feeling it will be a lot easier to find a publisher for it than a book that made some of the most famous people in the world look like maladjusted deviants. How were you able to get Hollywood Babylon on the shelves?They have strengthened the supporting poles and repainted the tin.
Now customize the name of a clipboard to store your clips. But it did attract the attention of sexologist Alfred Kinsey, whom you befriended. And I object to it a lot. You were making films before you were even a teenager, right?
Hollywood Babylon , Bell Pub. It was basically my knowledge. Can you add one? There are facts, and then there is gossip.
There is nothing explicit in my films.