Peter Gidal Movies

Demystified reaction by the viewer to a demystified situation; a cut in space and an interruption of duration, through (obvious) jumpcut editing...

Made from the same footage as Epilogue but in a different order: 1. pan, 2. dissolve-crossfade, 3.freeze.... as opposed topan, freeze,...

Close Up is a provocative and potentially dangerous pulling together of two opposing aspects of film form - namely, a 'documentartist' soundtrack...

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...

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,...

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...

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

"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...

Peter Gidal's 'Upside Down Feature' is one of the most important films to have been made in this country. It makes a complex and original foray into...

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...

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

The glass window being installed - labour - being the subject ostensibly of the film...glaziers and glass having a history within representation from...

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

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

Directed by Peter Gidal (1967)