Peter Gidal Movies

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

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

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...

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

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

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

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

Assumption is a virtuosic personal tribute, a glimpse at history and a celebration of independent film culture. Gidal's short film was assembled...

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

Gidal describes the film’s ‘so-called imagery’ as ‘a complex of barely visible cuts in space and time, the opposite of...

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,...

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,...

A Peter Gidal short film

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

16mm, 8'20"

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

Directed by Peter Gidal (1967)

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

Hopefully learning the lessons of Close Up, the attempt was to construct the discrete form the (seemingly) continuous... so that, mainly...