Movies: Peter Gidal

Home movies shot on Super 8mm by W+B Hein over 10 years....

Includes 'portraits' of Marianne Faithfull, Thelonious Monk and 28 others, some known, some less so....

The film attempts to construct a space (as all films do), to construct a time (as all films do), to construct a process (as all films do) of and for viewing, of and for the viewer to constantly re-process, re-memorate, re-produce it (him/her) self in...

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a zoom to achieve close-up images. Aside from the amorphous shapes of the clouds, the only forms to ap...

Peter Gidal’s starting point for his 16mm film was a soundtrack that consists of three lines from a 1,000 word story written by Gidal in 1971, read by William Burroughs....

Close Up is a provocative and potentially dangerous pulling together of two opposing aspects of film form - namely, a 'documentartist' soundtrack comprising interview material with Nicaraguan revolutionaries on the subject of art, propaganda and impe...

The practice of Structural/Materialist Film is defined in...process, construction, displaced reflexively...not displaced uniformly into the pattern of a narrative bound up for the stable subject-centred image. Structural/Materialist film has no place...

Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible cuts in space and time, the opposite of erasure, but nothing so much as visible’...

"This film is a consequent continuation and contraction of my film work, research which began with Room (1967). The film is not a translation of anything, it is not a representation of anything, not even of consciousness."...

Peter Gidal’s starting point for his 16mm film was a soundtrack that consists of three lines from a 1,000 word story written by Gidal in 1971, read by William Burroughs. Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible c...

Loop ended up being a film that also 'ended' Upside Down Feature (1967-72) and was a negative upside down portrait as well....in negative, the person moving, or blinking, or smiling, or not smiling, become gestures distanced whilst simultaneously app...

A slow zoom out and defocus of 'An enclosed and progressive disembowelment of durational progression.'...

Demystified reaction by the viewer to a demystified situation; a cut in space and an interruption of duration, through (obvious) jumpcut editing within a strictly defined space. Manipulation of response and awareness thereof: through repetition and d...

Early short by Peter Gidal....

Assumption is a virtuosic personal tribute, a glimpse at history and a celebration of independent film culture. Gidal's short film was assembled round a recording of the voice of Mary Pat Leece, who worked at the London Filmmakers' Co-op in the mid-1...

Objects in the world given luminousness, light, are here less apprehensible to knowledge than that which has less light....

Volcano, half hour, silent, shot on 16mm on a volcano in Hawaii, the film attempts to deal with those questions of representation that persist as problematic, for me, for the basic questions of aesthetics, what it is to view, how to view the unknown ...

In effect, it turns the spectator loose in a problematic textual system which includes both narrative and non-narrative clues; the puzzle cannot be resolved because its terms are systematically ambiguous. The actual filmic material related closely to...

Structuralist film collage consisting of 8mm film "notes" printed directly on 16mm stock. The images include people and landscapes and the technical difference between the two film formats are emphasised by the presence of perforations, Kodak company...

A film by Peter Gidal...