Peter Gidal Movies

Includes 'portraits' of Marianne Faithfull, Thelonious Monk and 28 others, some known, some less so.

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

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

Volcano, half hour, silent, shot on 16mm on a volcano in Hawaii, the film attempts to deal with those questions of representation that persist as...

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...

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

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

Early short by Peter Gidal.

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,...

Clouds 1969 by the British filmmaker Peter Gidal is a film comprised of ten minutes of looped footage of the sky, shot with a handheld camera using a...

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

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...

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

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,...

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

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...

"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...

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

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...