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...

A Peter Gidal short film

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...

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 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...

"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...

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...

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

Directed by Peter Gidal (1967)

The film deals with levels of reproduction. The repetitious camera movements over successive photographs are intended to function as distancing...

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

“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...

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