Peter Gidal Movies

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

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

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 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...

A film by Peter Gidal

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

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...

16mm, 8'20"

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,...

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

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...

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

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

"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...

Directed by Peter Gidal (1967)

“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...

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...

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...