You Killed Me First: The Cinema of Transgression by Sylvère Lotringer, Carlo McCormick, Jonas Mekas

By Sylvère Lotringer, Carlo McCormick, Jonas Mekas

Rising from New York's reduce East part within the city's early Eighties No Wave scene, the "Cinema of Transgression" geared toward outright surprise, provocation and disagreement. younger filmmakers equivalent to Richard Kern, Lydia Lunch, Kembra Pfahler, Casandra Stark and Nick Zedd produced nihilistic, nightmarish eventualities of violence, angst and erotic extra that willfully transcended all ethical or aesthetic limitations. occasionally shot with stolen digicam gear, and flaunting their lo-fi credentials, the low-priced movies of the self-proclaimed "Cinema of Transgression" awarded analyses of a reduce East part outlined via illegal activity, brutality, medicinal drugs, AIDS, intercourse and extra. You Killed Me First is released at the get together of the 1st exhibition at the Cinema of Transgression.

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By Sylvère Lotringer, Carlo McCormick, Jonas Mekas

Rising from New York's reduce East part within the city's early Eighties No Wave scene, the "Cinema of Transgression" geared toward outright surprise, provocation and disagreement. younger filmmakers equivalent to Richard Kern, Lydia Lunch, Kembra Pfahler, Casandra Stark and Nick Zedd produced nihilistic, nightmarish eventualities of violence, angst and erotic extra that willfully transcended all ethical or aesthetic limitations. occasionally shot with stolen digicam gear, and flaunting their lo-fi credentials, the low-priced movies of the self-proclaimed "Cinema of Transgression" awarded analyses of a reduce East part outlined via illegal activity, brutality, medicinal drugs, AIDS, intercourse and extra. You Killed Me First is released at the get together of the 1st exhibition at the Cinema of Transgression.

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ZEDD'S DEBUT FEATURE WAS INFLUENCED BY JOHN WATERS AND THE UNDERGROUND, BUT ALSO BY THE DOWNTOWN PUNK SCENE, CLASSIC JUVENILE DELINQUENCY FILMS AND EXPLOITATION MOVIES. FOR ZEDD PUNK WAS JUST AS MUCH OF A TARGET AS ANYTHING ELSE AND OFFENSE EXISTED SIMPLY FOR ITS OWN PURPOSE. THE BREAK WITH EVEN THE NO WAVE FILMMAKERS WAS MOST CLEARLY ARTICULATED IN AMY TAUBIN'S REVIEW, .. THE AESTHETIC OPERATIVE HERE IS TRANSGRESSION, BOTH IN THE TERMS OF THE NARRATIVE, AND IN FORMAL FILMMAKING TERMS. "(8) FOR TAUBIN IT .

MUCH AS POST-MODERNISM WOULD PROFFER A SPLINTERING OF MEANING, SO TOO WOULD QUEER CULTURE INVOKE A SIMILAR OBVIATION OF SEXUAL IDENTITY. THE CINEMA OF TRANSGRESSION WAS THE PSYCHIC MANIFESTATION OF ALL THE MYRIAD WAYS TRE COMMUNITY WAS REACTING, A SUM OF THAT DEVASTATING SPLINTERING. IT WAS THE ARTISTS WHO WERE THERE WHEN THE EAST VILLAGE REALLY WAS SOME PLACE SPECIAL, COMING TO TERMS WITH THE DISASTER IT WAS FAST BECOMING. IN THEIR WORK YOU DO NOT FEEL THE OPTIMISTIC HIGH THAT CHARACTERIZES THE BEGINNING OF A SCENE, YOU TASTE THE BITTER BACKWASH OF ITS COLLAPSE AS THE POLARIZING FORCES OF GENTRIFICATION AND HOMELESSNESS TORE APART THE FABRIC OF THE NEIGHBORHOOD.

SCREENINGS AT THE' NEW CINEMA WERE FUN. YOU COULD DRINK BEER, SMOKE WHATEVER, TALK BACK TO THE SCREEN; IT WAS THE KIND OF VIEWING SITUATION THE OLD, STRUCTURALIST AVANT-GARDE AVOIDED LIKE LEPROSy. n (6) THE NEW CINEMA DID NOT LAST THE YEAR, BUT DURING THE PERIOD IT WAS OPEN IT OFFERED AN OPPORTUNITY FOR FILMMAKERS TO SHOWCASE THEIR WORK IN A SPACE THAT WAS NOT DOMINATED BY THE OLD AVANT-GARDE, ONE THAT HINTED AT NEW POSSIBILITIES. • ~. • • I I • • • I I 3. IT WAS AGAINST THIS BACKGROUND THAT NICK ZEDD (UNDER THE ALIAS NICK ZODIAK) PRODUCED HIS DEBUT FEATURE They Eat Scum (1979), THE FILM SCREENED AT 0- P SCREEN(7) AND THE DOWNTOWN CLUBS MAX'S KANSAS CITY AND CLUB 57.

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