Peter Gidal Movies

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

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

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

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

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

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 '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...

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

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

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...

"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...

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...

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

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

Directed by Peter Gidal (1967)