Smiling faces tell lies aka Son of a whore

This is an eleven minute double projection film, which uses two screens on which the images are projected. These images include vividly coloured stock footage of invasive chest surgery juxtaposed with found homosexual hardcore porn footage on one screen, and black and white film depicting building work, exercise machines and New York subway trains entering tunnels on the other screen. The black and white footage on the right projection, depicting a train entering a tunnel, was edited by Zedd in a manner akin to structuralist film, and was originally utilized as a back-projection for a dance piece by Emma Diamond which was presented at St Markīs Church. The combination of pornography and surgery on the left hand projection was intended, in part, to suggest a new form of representation in wich even the bodily organs become infused with erotic signification. The unrelated images on each screen were described at the filmīs premiere by Zedd as an attempt to unify opposites. Firstly the images on each screen have nothing in common, they are quite litterally only unified by both being present within the film, and the images of technology, concrete and machinery on the right hand screen are contrasted by those images of flesh on the left hand screen. Yet these images, despite their antithetical nature, actually echo one another, for example the repetition of the phallic/penetration motif in the image of the pornography is clearly echoed within the images of the train entering the tunnel. Further the open heart surgery echoes the images of the body/machine present within the images of the exercise equipment. Described by Zedd as the "most extreme" of his double projection movies, the film exists to irritate, shock and offend the audience. The effect of the film is heightened by itīs lack of soundtrack, a device by which Zedd intended the audience to supply their own. Response has varied from the audiences watching in mute fascination to howls of laughter and cries of outrage.