Movies: Peter Gidal

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

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...

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’...

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....

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

"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."...

Hopefully learning the lessons of Close Up, the attempt was to construct the discrete form the (seemingly) continuous... so that, mainly retrospectively (yet during viewing) sequences present themselves as fragment-conglomorates. Therefrom might come...

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

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...

Sound: unrecognition unidentified, in time, you hear? Image: recognition identified, out of time in time; not not knowing the unknown but not knowing the known, no trace of 'no trace of any thing'. E.g. grain: is grain silver, black & white, or c...

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...

The film deals with levels of reproduction. The repetitious camera movements over successive photographs are intended to function as distancing devices relatable to mechanical repetitions such as film loops. The 'subject' of the film is the material ...

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

"first film in 5 years, tempted to say different yet the same, but not." peter gidal/london/2014...

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...

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...

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 ...

A film by Peter Gidal...

In Gidal's films, the first level of resistance, that of the filmmaker to the lure of the object, is chiefly inscribed through the action of the camera in it's 'looking at' the space - variously through; motion, distance, focal length's effect on per...

A hand-held camera zooms in and out as it films the objects in a room. The same sequence is presented twice. "In Room, [Gidal] makes deliberate use of the complete repetition of a whole film [...]. The camera's movement is slow and in close up on the...