@article {expcin15989, title = {You Killed Me First: The Cinema of Transgression}, year = {2012}, pages = {175 pp}, publisher = {KW Institute of Contemporary Art/Walther Konig}, address = {Berlin}, abstract = {

Basically, in one sentence, give us the definition of the {\textquoteleft}Cinema of Transgression{\textquoteright}.{\textquotedblright} Nick Zedd: {\textquotedblleft}Fuck you.{\textquotedblright}

Nightmarish scenarios of violence, dramatic states of mind, and perverse sexual abysses {\textendash} the films of the Cinema of Transgression that were consciously aimed at shock, provocation, and confrontation, bear witness to an extraordinary radicality. In the 1980s a group of filmmakers from the Lower East Side in New York went on a collision course with the conventions of American society. Transcending all moral or aesthetic boundaries, the low budget films reveal social hardship met with sociopolitical indifference. Sometimes shot with stolen camera equipment, the films contain strident analyses of life in the Lower East Side defined by criminality, brutality, drugs, AIDS, sex, and excess.\ 

Published to accompany the exhibition You Killed Me First held at KW Institute of Contemporary Art, Berlin, 19th Feb.-9th Apr., 2012.

}, keywords = {Casandra Stark, Cinema of Transgression, David Wojnarowicz, Karen Finley, Kembra Pfahler, Lung Leg, Lydia Lunch, Nick Zedd, Richard Kern, Tessa Hughes-Freeland, Tommy Turner}, isbn = {9783863351571}, url = {http://monoskop.org/log/?p=9962}, author = {Susanne Pfeffer and Sylv{\`e}re Lotringer and Carlo McCormick and Jonas Mekas and Jack Sargeant and Nick Zedd} } @book {expcin15994, title = {Experimental Cinema: The Film Reader}, year = {2002}, pages = {356 pp}, publisher = {Routledge}, organization = {Routledge}, address = {New York/London}, abstract = {

Brings together key writings on American avant-garde cinema to explore the long tradition of underground filmmaking from its origins in the 1920s to the work of contemporary film and video artists.

}, keywords = {Agn{\`e}s Varda, Andy Warhol, Barbara Hammer, Black cinema, Carolee Schneemann, Chantal Akerman, Female cinema, Gay cinema, Germaine Dulac, Hollis Frampton, Jack Smith, Kenneth Anger, Maya Deren, Michael Snow, Stan Brakhage, Su Friedrich, Trinh T. Minh-ha, Warren Sonbert, Yoko Ono}, isbn = {9780415277877}, author = {Jan-Christopher Horak and Jonas Mekas and Lauren Rabinovitz and Agn{\`e}s Varda and Juan Antonio Su{\'a}rez and Suranjan Ganguly and Jerry Tartaglia and Kate Haug and Reva Wolf and Daryl Chin and Yoko Ono and P.Adams Sitney and Scott MacDonald and Philip Lopate and David Ehrenstein and Peter Gidal and Chris Holmlund and Gloria J. Gibson and Kobena Mercer}, editor = {Wheeler Winston-Dixon and Gwendolyn Audrey Foster} } @book {expcin16041, title = {Cin{\'e}-Journal: Un nouveau cin{\'e}ma am{\'e}ricain (1959-1971)}, series = {Classiques de l{\textquoteright}Avant-Garde}, number = {3}, year = {1992}, pages = {400 pp}, publisher = {Paris exp{\'e}rimental}, organization = {Paris exp{\'e}rimental}, address = {Paris}, abstract = {

French translation of Jonas Mekas{\textquoteright} Movie Journal

}, keywords = {American Cinema}, issn = {2-9500635-3-5}, author = {Jonas Mekas}, editor = {Dominique Noguez} } @book {expcin15991, title = {The Avant-garde Film: A Reader of Theory and Criticism}, series = { Anthology film archives}, number = {3}, year = {1978}, pages = {295 pp}, publisher = {New York University Press}, organization = {New York University Press}, address = {New York}, abstract = {

This anthology is both a history of the avant-garde film genre and a compendium of theories of cinema articulated by major filmmakers. The 33 selections include several previously unpublished theoretical and critical articles and many articles that were especially translated into English for this collection. Other selections were drawn from interviews and from lectures contained in the Anthology Film Archives.

}, keywords = {Andy Warhol, Anthony McCall, Antonin Artaud, Ernie Gehr, Germaine Dulac, Hans Richter, Harry Smith, Hollis Frampton, James Broughton, James Whitney, Jean Epstein, John Whitney, Jonas Mekas, Joseph Cornell, Maya Deren, Michael Snow, Paul Sharits, Peter Kubelka, Sergei Eisenstein, Sidney Peterson, Stan Brakhage, Tony Conrad}, isbn = {9780814777930}, author = {P.Adams Sitney and Sergei Eisenstein and Hans Richter and Jean Epstein and Germaine Dulac and Antonin Artaud and Joseph Cornell and Maya Deren and Sidney Peterson and James Broughton and John Whitney and James Whitney and Harry Smith and Carel Rowe and Stan Brakhage and Peter Kubelka and Stephen Koch and Annette Michelson and Michael Snow and Jonas Mekas and Ernie Gehr and Anthony McCall and Paul Sharits and Tony Conrad and Hollis Frampton} } @book {expcin15990, title = {Structural Film Anthology}, year = {1976}, pages = {144 pp}, publisher = {British Film Institute}, organization = {British Film Institute}, address = {London}, abstract = {

{\textquotedblleft}This anthology of texts about what have been termed Structural Films attempts to bring together some of the more important essays and articles on those films which have formed the core of film work in this field since its inception. It is a first attempt to bring together texts from Europe, Britain and the United States. In the past we have been inundated with the parochial, American view of avant-garde film work, as expounded on both sides of the Atlantic. This anthology was published to coincide with the series of eighteen programmes, Structural Film Retrospective, at the National Film Theatre, London, in May 1976.

As it happened, no film-maker was included in the programmes who had not produced relevant work before 1971, though many works were from after that year. No new films were introduced; this was a retrospective programme intended to enable a viewing that saw each film in the context of each other film, that could recognise alliances and misalliances between films, that could attempt to deal with the individual filmworks and the critical practice which preceded or followed.

In some cases, the critical practice here is a virtually complete repression through ideology of the text of the film; in the gaps presented work can now take place. The lengths of the sections are dictated by the materials of interest available, and unfortunately in a few cases only very slight material existed. I hope that the selection will not offend; the younger Americans have been left out, as have many of the younger British, because of the wish for a solid retrospective programme as elucidated above. No doubt there are quite a few film-makers completely unknown to me, and to nearly everyone else, who have done and may be doing very important work, and whose work remains {\textquoteleft}out of view{\textquoteright} for a variety of sociological reasons, none of which are praiseworthy. I wish to thank all the film-makers and writers, obviously.

For this reprint nothing has been changed, though a few minor errors have been corrected and Ben Brewster{\textquoteright}s review of the Anthology inScreen has been included as an afterward. I call attention to the {\textquoteleft}Theory and Definition of Structural/Materialist Film{\textquoteright} article in its original form in Studio International (November 1975), and to Deke Dusinberre{\textquoteright}s article relating to it in Screen (Summer 1977). P.G., January 1978" (Introduction)

}, keywords = {Birgit Hein, David Crosswaite, Fred Drummond, George Landow, Gill Eatherley, Hollis Frampton, John Du Cane, Joyce Wieland, Ken Jacobs, Kurt Kren, Malcolm Le Grice, materialist film, Michael Snow, Mike Dunford, Mike Leggett, Paul Sharits, Peter Gidal, Peter Kubelka, Roger Hammond, structural film, Tony Conrad, Wilhelm Hein, William Raban}, isbn = {9780851700533}, url = {http://monoskop.org/log/?p=2612}, author = {Peter Gidal and Malcolm Le Grice and Michael Snow and Hollis Frampton and Mike Dunford and Paul Sharits and Jonas Mekas and Birgit Hein and Gill Eatherley and George Landow and Fred Camper and William Raban and Fred Drummond and David Curtis and Ben Brewster and John Du Cane and Regina Cornwell and Gordon Gow and Simon Hartog and Annette Michelson and Lois Mendelson and Verina Glaessner} } @book {expcin16043, title = {Diario de cine: el nacimiento del nuevo cine americano}, year = {1975}, pages = {550 pp}, publisher = {Fundamentos}, organization = {Fundamentos}, address = {Caracas}, abstract = {

Spanish Translation of Jonas Mekas{\textquoteright} Movie Journal

}, keywords = {American Cinema}, isbn = {9788424501600}, author = {Jonas Mekas} } @book {expcin16040, title = {Movie Journal: The Rise of the New American Cinema, 1959-1971}, year = {1972}, pages = {434 pp}, publisher = {Macmillan}, organization = {Macmillan}, address = {New York}, abstract = {

A collection of the columns written for the Village Voice beginning in 1958 under the title "Movie Journal"

}, keywords = {American Cinema, Village Voice}, author = {Jonas Mekas} } @book {expcin16021, title = {Cinema now 1: Perspectives on American underground film: Stan Brakhage, John Cage, Jonas Mekas, Stan Vanderbeek}, year = {1968}, pages = {28 pp}, publisher = {University of Cincinnati}, organization = {University of Cincinnati}, address = {Cincinnati}, abstract = {

Transcript of a discussion among filmmakers and members of the Film as Art and Communication class at the University of Cincinnati, which took place in April 1967.

}, keywords = {American Cinema, John Cage, Jonas Mekas, Stan Brakhage, Stan VanDerBeek}, author = {Stan Brakhage and Jonas Mekas and John Cage and Stan VanDerBeek}, editor = {Hector Currie and Michael Porte} }