Peter Gidal Movies

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

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

16mm, 8'20"

A Peter Gidal short film

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

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

Directed by Peter Gidal (1967)

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...

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...

The most inclusive so far of my film preoccupations; zooming panning focussing to constantly redefine reality and the process of...

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

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...

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

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...