Nowhere is this more succinctly exemplified than in the series’ opening title sequence an errant fly, skittering along the rim of an unconscious eye, only to be trapped in the folds of lashes. Far from being simply enthralling on a visual level, Æon Flux was at once a shrewd deconstruction of Hollywood sensationalism and a savvy examination of the power inherent in the act of both seeing and being seen. Spanning six animated shorts and ten half-hour episodes, Chung’s magnum opus eschewed convention and defied the trite assumptions of what was possible to achieve through network animation.
#AEON FLUX ANIME FEET SERIES#
When animator Peter Chung was first approached by Colossal Pictures' Japhet Asher in the early nineties to direct a series of shorts for MTV’s experimental animation block Liquid Television, Chung seized the opportunity to break out of the mold of his previous work on such shows as Transformers and Klasky Csupo’s Rugrats and create a series that was all its own. Combining the far and varied influences of New Wave cinema, artistic expressionism, Franco-Belgian comics, and spiritual gnosticism, the 1991 avant-garde animated series follows the exploits of a mysterious dominatrix-cum-agent saboteur and her authoritarian nemesis/lover Trevor Goodchild – two opposing forces clashing as the pretenses of morality and justice are left morphed and unrecognizable in their wake.
The French philosopher Michel Foucault once wrote, “The gaze that sees is the gaze that dominates.” Though originally intended to describe the biological reductionist philosophy of modern medicine, this phrase could easily serve as the maxim of Æon Flux.
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