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The Foundation for Art in Cinema CINEMATHEQUE The Bay Area showcase for personal and avant-garde film Saturday, April 7, 1985 "MAGIC AND THE OCCULT" " INVOCATION OF MY DEMON BROTHER " by Kenneth Anger (1969) 16mm 11 min<, (hand-tinted color) "Kenneth Anger, more than any other avant=garde film-maker, is the conscious artificer of his own myth... For him more than for any other avant-garde film-maker Hollywood is both his matrix and the adversary... Invocation of My Demon Brother ... marks a stylistic change and a refinement of Anger's Romanticism... The early films of Anger observe for the most part the classical unit- ies of time and space and tend to have clearly defined beginnings, middles, and ends... In Invocation (he) still utilizes the off- screen look as a formal fixture? one can distinguish an introduc- tion and a conclusion. But nevertheless the film marks a radical step for him in the direction of open form, where montage does not depend on the illusion or the suggestion of spatial and temporal relationship between shots... In Invocation of My Demon Brother , Anger continues to glorify the creative imagination as he does in all of his films, but he extends the rhetoric of metamorphoses and universal analogy beyond the transformations of Inauguration of the Pleasure Dome and the dialectical metaphors of Scorpio Rising into a "web of correspondences, a rhetoric of metamorpho- ses in which everything reflects everything else," ... "In Invocation Anger combines material from the original Luci - fer Rising , a document of the Eguinox of the Gods ritual he per- formed the night the film was stolen, a helicopter landing in Vietnam, footage of the Rolling Stones, alchemical tattoos. For the first time he uses anamorphic photography... "The film moves among levels of reality, suggesting that one image is the signature of another. It is Anger's most metaphys- ical film; here he eschews literal connections, makes the images jar against one another, and does not create a center of gravity through which the collage is to be interpreted... Thus deprived of a center of gravity, every image has egual weight in the film; and more than ever before in an Anger film, the burden of synthesis falls upon the viewer. "...It is very much a part of the aspiration of Invocation of My Demon Brother to get beyond the limitations of cinema and di- rectly into the head. ... Invocation is... an investigation of the aesthetic guest through occult rhetoric. What makes this film... difficult ... is the film-maker's new use of his art as an instru- ment of discovery. The film is about the concentration of the imagination and indirectly about the power of art to achieve it... Watching the film, one feels that the film-maker did not know what the film was to be until it was finished..." * * P. Adams Sitney, Visionary Film , New York: Oxford University Press, 1974, pp. 128-135.