Fillorkill
: historychannel: soviet republic of hungary (1919)
The Hungarian Soviet Republic or literally Republic of Councils in Hungary (Hungarian: Magyarországi Tanácsköztársaság[2] or Magyarországi Szocialista Szövetséges Tanácsköztársaság[3]) was a short-lived (133 days) communist rump state[4]. When the Republic of Councils in Hungary was established, it controlled only approximately 23% of the territory of Hungary's classic border. It was the second socialist state in the world to be formed, only preceded by the October Revolution in Russia which brought the Bolsheviks to power
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No wave was a short-lived avant-garde scene that emerged in the late 1970s in downtown New York City.[3][4] In partial reaction against punk rock's recycling of traditionalist rock and roll clichés, no wave musicians instead experimented with noise, dissonance and atonality in addition to a variety of non-rock genres, including free jazz and funk, while often reflecting an abrasive, confrontational and nihilistic worldview.[5][6][7] In the later years of the scene, it adopted a more playful, danceable aesthetic inspired by disco, early hip hop and world music sources.[8] The term "no wave" was a pun based on the rejection of commercial new wave music.[9] The movement would last a relatively short time but profoundly influenced the development of independent film, fashion and visual art.[10]
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Dazed Digital: What's the story behind the Cinema of Transgression? How did the sociopolitical background of the time inform what these filmmakers were doing?
Susanne Pfeffer: In the 1980s the group of filmmakers emerged from the Lower East Side, New York. Their shared aims were to transgress “all limits set or prescribed by taste, morality or any other traditional value system”, as Nick Zedd postulated it in the Cinema of Transgression manifesto (1985). While the Reagan government mainly focused on counteracting the decline of traditional family values, the filmmakers went on a collision course with the conventions of American society by dealing with life in the Lower East Side defined by criminality, brutality, drugs, AIDS, sex, and excess.
DD: What was the message? What did they want to say, and why did they want to say it? Susanne Pfeffer: The films each in its very own way formulated aggressive statements on US society. The intention was to shock, to provoke and to confront. The films were primarily a radical response – YOU KILLED ME FIRST – to outdated social values and hypocritical double standards, to conventionalized gender roles, domestic violence as well as an ignorant view of poverty, drug consumption and HIV/AIDS.
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