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In the late ’70’s - early ’80’s Nick Zedd (RIP) began unleashing a series of edgy zero-budget assaults on the status quo of the downtown film world. Disgusted with the academic leaning avant-garde work of the day, the conformist, film school driven “indie” scene and pretty much any form of arthouse culture splattered across the pages of the Village Voice, film festival programs, etc., he pushed forward with his own brand of antagonistic underground cinema. With a handful of degenerate collaborators he began showing mostly Super-8 films in local bars, nightclubs, storefronts and micro-cinemas. The only problem was nobody knew about them. And worse, the ones that did hated them! He went years without receiving one positive review while simultaneously enduring the “censorship of omission” aka no one giving a fuck. The solution? In 1984 he launched a self-published magazine called The Underground Film Bulletin. He edited it under the alias Orion Jeriko and wrote the articles under a slew of additional pseudonyms. It was a way to FINALLY get good reviews, boost his peers, and frame his work in a historical context. It was in these pages that The Cinema of Transgression was born. The narrative finally caught on and Zedd declared “That's how I became a part of history.” A helpful reminder that “history is whoever gets to the typewriter first.”
Apr 7, 2022

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