Chapter 4 is devoted to the “magick” films of Kenneth Anger and details his brilliant use of irony, climaxing in Scorpio Rising (1963, 29 mins, PFA Collection), which uses thirteen popular songs to structure a like number of episodes centered on a motorcycle gang. The film marks Anger's shift to what Sitney calls the mythopoeic-films focused on ritual and myth, an area of exploration also found in Gregory Markopoulos's Twice a Man (see below). Markopoulos's films, which have recently become available again and are the focus of Chapter Five, are characterized by radical narrative and an unusual use of color, rhythm, and atemporal construction. Markopoulos's distinctive montage is evident in his first film, the unparalleled Psyche (1947–1948, 25 mins, Color, Temenos, Inc). The lyrical tradition, which equates images with the filmmaker's vision, is discussed in Chapter 6, and is traced in its evolution from Stan Brakhage (The Dead, 1960, 11 mins, Silent, Canyon Cinema) and Marie Menken (Notebook, see below) to the sensual films of Bruce Baillie (Mass for the Dakota Sioux, 1963–1964, 20 mins, PFA Collection).