{"id":164816,"date":"2023-07-07T10:59:54","date_gmt":"2023-07-07T14:59:54","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=164816"},"modified":"2023-07-05T11:36:49","modified_gmt":"2023-07-05T15:36:49","slug":"fireworks-on-kenneth-anger-and-the-legend-of-zelda","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/07\/07\/fireworks-on-kenneth-anger-and-the-legend-of-zelda\/","title":{"rendered":"Fireworks: On Kenneth Anger and The Legend of Zelda<\/em>"},"content":{"rendered":"
\"\"

The Legend of Zelda: Tears of the Kingdom<\/em>.<\/p><\/div>\n

One of the most provocative sequences of Kenneth Anger\u2019s career appears in an early short film (and my favorite), Fireworks<\/i> (1947): a sailor opens his fly to reveal a Roman candle spitting sparks at the camera until it explodes, drenching the frame with spurts of white light. This image would later establish Anger as a seminal figure in the history of queer film, but it also resulted in an obscenity trial\u2014gay sexuality was criminalized, and the Hays Code had a vice grip on Hollywood. A countercultural icon and lifelong Angeleno, Anger died in May at age ninety-six. The body of work he left behind stands beside that of American avant-garde filmmakers like Maya Deren, Sara Kathryn Arledge, Stan Brakhage, and Jonas Mekas: experimental shorts, made predominantly between the forties and seventies, that combine surrealism and scenes of stylized violence with a heavy dose of occult symbolism. <\/p>\n

Fireworks<\/i>, which Anger made at twenty in his parents\u2019 Beverly Hills house while they were out of town, is a gorgeous fourteen-minute film with no dialogue, set to orchestral music. The nameless protagonist, played by Anger himself, leaves his bed, wanders through a homoerotic dreamworld in search of a light, and meets a group of beautiful sailors. They flex their cartoonishly massive biceps for him and light his cigarette with a flaming palm frond but then turn hostile, chasing the dreamer down to deliver a beating. There\u2019s a flurry of white-clothed limbs as they tear his clothes off, whip him with chains, pour milk over his lips and eyes, and gouge open his chest with a shattered beer bottle to expose the face of a compass buried among his internal organs. The dreamer\u2019s expression passes from ecstasy to agony and back again. A few hallucinatory moments later, the fireworks go off.<\/p>\n

At the heart of Anger\u2019s work is a question about the erotics of masculinity. The biker film Scorpio Rising<\/i> (1963), for example, is an ambiguous exploration of fascist aesthetics: high-gloss rider jackets, Nazi iconography, an obsession with the perfected physical form\u2014and the attendant unspoken racial implications. Like the sadomasochistic brutalization of the dreamer in Fireworks<\/i>, the scenes in which the biker gang lovingly assemble their looks for the night\u2014peaked caps, imperial eagle insignia, and leather\u2014are suffused with desire. It\u2019s one of the hardest watches of his oeuvre for me, but is emblematic of Anger\u2019s work: shorts that span a vast imaginative territory, a sort of psychosexual underworld, where repressed fantasies of the American unconscious can take shape and move around unfettered. He takes dreams seriously as a subject worthy of art and utilizes them to develop scenes that operate on multiple registers. Though it might have been part of a strategy to avoid censorship, the Roman candle in Fireworks <\/i>reads to me like an homage to the props enjoyed by a certain kind of transmasculinity. Like a strap-on or a souped-up packer, the prosthetic phallus allows the wearer to bathe in the pageantry of a particular type of queer masculinity, whose aggressive quality in this scene is undercut by a sense of comedy, magic, and mischief. Here, and elsewhere, Anger is able to observe the inner workings of desire\u2014its pursuit, suspension, satisfaction, and fluctuation.<\/p>\n

\u2014Jay Graham, reader<\/strong><\/p>\n

I\u2019ve often been asked whether or not video games can be considered art. One stock reply I have is that the immersive experience of the video game can allow one to encounter simulacra of more conventional aesthetic experiences or practices. The behemoth new Nintendo offering <\/span>The<\/span><\/i> Legend of Zelda: Tears of the Kingdom<\/span><\/i> is a playground for such encounters. The player is encouraged to use a near-infinite number of means (building vehicles, \u201cshield-surfing,\u201d being catapulted by a slab of marble) to achieve a near-infinite number of random ends (flying over enemies, sledding down a snowy mountain, or using the aforementioned slab catapult to shoot a ball into a hole on the face of a spherical sky-island one hundred yards away), not because they are required to beat the game, but simply because <\/span>you can<\/span><\/i> and you find yourself wanting to. The game requires a kind of virtual athleticism: my favorite action involves soaring through the skies on a Zonai Wing, a flying device shaped like a bird that disappears after you\u2019ve used it for a minute. When that happens, if you time it right, you can spawn another one, fall onto it, and keep on flying.<\/span><\/p>\n

Tears of the Kingdom<\/span><\/i>\u2019s art direction elegantly sidesteps the \u201creal-life graphics\u201d arms race that most major releases engage in and opts for a decidedly impressionistic aesthetic. The game designer Shigeru Miyamoto, the director of 2012\u2019s <\/span>Skyward Sword<\/span><\/i>,<\/span> whose art style was refined in <\/span>Breath of the Wild <\/span><\/i>and <\/span>Tears of the Kingdom<\/span><\/i>, has cited Paul C\u00e9zanne as a major influence, describing the graphics in his work as \u201cmoving paintings.\u201d\u00a0<\/span><\/p>\n

Within this aesthetic frame, however, the action is less modernist impressionism and more a postmodern Fluxus, where actions are equally deconstructive and constructive, and activities that have conventional artistic correlates are designed to be toyed with, experimented on, and used for brazen (or impish) ends. The player can practice sculpture and engineering (building machines with \u201cZonai devices\u201d), photography (an optional part of the game involves taking pictures of every item and creature with a smartphone-like device), and dance (combat mechanics that pay homage to the \u201cbullet-time\u201d sequences of <\/span>The Matrix<\/span><\/i>). There\u2019s even virtual land art: one strip of terrain at the border of the map is literally <\/span>Spiral Jetty <\/span><\/i>by Robert Smithson, and scattered across the map are thirteen \u201cgeoglyphs\u201d that can be fully appreciated only when skydiving. The plot is a bricolage of key stories and myths from at least five different religions; the music is minimalist in the Sakamoto mold. <\/span>Tears of the Kingdom<\/span><\/i> isn\u2019t an escape from reality but an advertisement <\/span>for <\/span><\/i>reality\u2014including the aesthetic practices that already make our own.\u00a0<\/span><\/p>\n

\u2014William Lennon<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

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