Somewhat hilariously, while Cinema of Transgression anti-messiah Nick Zedd (They Eat Scum, Electra Elf) went of his way to attack certain famous American avant-garde filmmakers, most specifically Structural filmmakers associated with Jonas Mekas' inner-circle, in his not-quite-infamous piece of aesthetic agitprop The Cinema of Transgression Manifesto (1985) by denouncing the supposed “laziness known as structuralism” and “profoundly undeserving non-talents like Brakhage, Snow, Frampton, Gehr, Breer, etc,” he would later eventually attempt to create his own experimental work in a fairly similar vein to the films of some of these filmmakers. Indeed, Zedd’s 12-minute piece of explicitly childish (anti)pornographic collage Whoregasm (1988) resembles the sort of cinematic work experimental film maestro Stan Brakhage (Dog Star Man series, Mothlight) might have assembled had he suffered severe brain damage in a car wreck, became obsessed with collecting badly damaged vintage stag films, and tried in vain to reinvent himself as the most insipidly iconoclastic filmmaker in cinema history. Comprised of vintage erotic found footage, scenes of the director having unsimulated sex with his girlfriend, outtakes from the proudly obnoxious art-trash filmmaker’s surprisingly narratively conventional black-and-white anti-cop short Police State (1987), and a fairly complimentary art-rock noise score by Sonic Youth, the film might be Zedd’s most overtly experimental, abstract, and visually and structurally anarchistic cinematic effort to date, but it also exposes the fact that the aberrant auteur is a one-note celluloid transgressor who merely makes films to offend, as if there is any great merit to merely offending for offending’s sake. Whoregasm is also notable for being one of a couple of films where Zedd appears in drag, though instead of attempting to suck a limp dick like he did in Richard Kern’s wholly horrendous 5-minute short King of Sex (1986), the filmmaker uses his mouth to molest the lips, tits, and twat of his dead-eyed junky then-girlfriend Susan Manson, who returns the favor while her beau is sporting a tacky cheap dress that probably no real-life crack-addled drag-queen would ever be caught dead in.
Ironically, despite trashing the Structural filmmakers in his 1985 Cinema of Transgression manifesto, Zedd has acknowledged that one of his greatest influences is the Viennese Aktionism and the movement's main filmmaker, Austrian-Jewish Structuralist auteur Kurt Kren, films embody a true cinema of transgression and do not resort to the uniquely unrefined post-Kuchar grade school shock values that the Lord of the Cockrings (2002) director is infamous for. Personally, as far as his more experimental cinematic works go, I think that it is safe to say that Zedd's most original and idiosyncratic film is his early short The Bogus Man (1980). Additionally, aside from being fairly derivative and unoriginal, Whoregasm suffers from lacking the energetic spirit of Zedd’s early works like They Eat Scum (1979) and Geek Maggot Bingo or The Freak from Suckweasel Mountain (1983), but then again he was addicted to ‘Cocteau’s kick’ when he was making it, hence his particularly unprolific output during that time. After feces-flinging punk rock messiah G.G. Allin's somewhat anticlimatic death, Zedd wrote about his quasi-compatriot, “G.G. went out of his way to be hated. He spread hatred and stupidity everywhere he could. One theory advanced for his psychopathology was a childhood of sexual abuse. Who knows? Furthermore, who cares? I consider it a joke that I'm even writing about him. His minimal talents were focused on a crude form of infantile self-promotion manifested in public filthiness.” Somehow after watching Whoregasm, I get the impression that Zedd was merely projecting his own anti-qualities onto Mr. Allin.