Peter Gidal Movies

What darkness the film will have in No Night No Daywill not be connected to nature's night, equally light will be unconnected to 'day' as a lived...

The practice of Structural/Materialist Film is defined in...process, construction, displaced reflexively...not displaced uniformly into the pattern...

In effect, it turns the spectator loose in a problematic textual system which includes both narrative and non-narrative clues; the puzzle cannot be...

Structuralist film collage consisting of 8mm film "notes" printed directly on 16mm stock. The images include people and landscapes and the technical...

“Theatre theory for film, or not: Brecht (an interrogation/performance: a ghost trio for two).” (Gidal). Taking the form of a multi-part...

Kopenhagen/1930 presents a different attitude to the seductions of content, to the signifying processes that are repressed in the rigorous procedures...

"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...

Sound: unrecognition unidentified, in time, you hear? Image: recognition identified, out of time in time; not not knowing the unknown but not knowing...

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

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...

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...

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

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...

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